Carol, film set in 1950s New York, based on a Patricia Highsmith book

3rd December 2015

The accolades for Carol have been coming in thick and fast, from Cannes, through 5 star reviews, to predictions for a rosy future at the Oscars. It is a film adaptation of Carol (or, The Price of Salt) by Patricia Highsmith.

Perhaps the most buzzed-about film at Cannes (Vanity Fair)

…an Oscar contender at Cannes…(The Independent)

Cate Blanchett will slay you (The Telegraph)

“Carol” Dominates New York Film Critics Circle Awards (CriticWire)

The book is a good read, rooted in the 1950s and deals with coming out in an era when women and minority groups still had to find a voice. The book portrays this beautifully and with great subtlety.

The film of course also takes us back to 1952 with a polished and visually sharp portrayal of a slow burning relationship between two women, that starts with merest flicker of eye contact in a department store.  Two supremely competent actresses smouldering away at each other.

But it was the slick and supremely confident depiction of the overall film that for me was actually a detractor. Let me explain. Today, coming out is much more part of culture, but in the 1950s it was even more of a big deal. The film continually reminds the viewer of the era in which it is set, through self conscious devices. Everywhere there are cars from the period, clean, sleek and pristine. They sit parked at the kerb, they slide by, they take part in a traffic snarl-up; the variety of pastel colours is utterly redolent of the period. Not a single car, however – apart from a scene at a motel – has any signs of normal use, they are all squeaky clean, bit part players, wheeled in to enhance the setting, a modelled scene whilst events unfold. It is like looking in on a photo shoot for a style magazine, lovely but at times rather vapid.

Of course nearly everyone smoked in the 50s. And nearly everyone lights up in the film, moving from one sultry moment to the next, maximising a pause for thought perhaps, all the while adding to the sumptuous yet ponderous delivery.

The British Board of Film Classification indicates that there is infrequent strong sex. The 2 scenes, because essentially that is what this refers to, are hijacked by Cate Blanchett (who leaves the revealing parts of the naked upper female anatomy to the less famous actress, Rooney Mara), not for her any nudity as she pushes her hair from her face (time and again) so that the audience can fully appreciate the studied subtleties of her expression and passion during lovemaking. A palpable connection between the two? It has none of the intensity of Brief Encounter, with which it has been compared.

So, I guess, for me, I would have loved to see this book adapted for the big screen in the hands of French cinema, the chemistry would have crackled on the screen. As it is, this is a picture perfect performance by two talented actresses and it is underwhelming. But, it seems, I am one of a handful who can’t connect with the hype. A case of the emperor’s new clothes, perhaps…. Am I a lone dissenter in not feeling the vibe for this film?

Tina for the TripFiction Team

Have you seen the film? Have you read the book? Share your thoughts….

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