A beautifully composed if somewhat arid melodrama and we've been here a few times before in its slightly revisionist 'queer' glance into a rear-view mirror of the recent past. Nevertheless it's crafted with a genuine care and delicacy, and is perhaps Haynes's most steady work to date.
Visually lovely, maybe too lovely. Good performances from both leads, but their romance felt oddly substanceless and flighty, perhaps because it came in flimsy impressions that were free-floating, ungrounded, like fragments of a dream, a bit too abstracted, a bit too clean. The characters were too composed, and thus, unreal, without the specificity of flesh and blood. then again this was Patricia Highsmith's fantasy.
(2.5 | 2K) the film only takes off way into the second half, and it's a bit too late. It's alive for 40 minutes and ends suddenly on the quietly moving finale when both their gazes meet. The screen turns black, the frail flower dies. A film that hesitates, although Cate Blanchett is at times sublime.
In Carol è spesso presente una sorta di velo formale che trattiene la deflagrazione delle immagini; una garza visuale che tampona il flusso mestruale dell'emozione. Quindi, un'opera straordinariamente trattenuta. Un film di figure e sguardi frenati, in cui lo soddisfacimento relazionale risulta costantemente rimandato, perché intrappolato in un limbo sentimentale ed emozionale, come fosse bloccato in un sogno.
It's nice to look at (the location scout deserves a medal) but it's a stilted, empty -and yes, kind of boring- experience. Drains the depth out of Highsmith's writing in the same way Minghella's Ripley did. If I were directing: Less attention on simulacrum and more on...I don't know...connecting images with emotions (it's a love story, right)? But I'm a rube so what do I know. I'll go quietly to Cinephile Jail now...