Carol

It's an inevitability that Carol will face categorisation as an LGBT film, but that's not the limits of how it should be considered. It's simply a heartfelt and deeply human love story where the principle couple confronts insurmountable odds. In Carol's case, these obstacles are the prejudices of the time and culture they live in. The film frames this discrimination in a tangible and legal way, as the titular Carol is accused of a morally indecent lifestyle by her ex-husband in order to win custody of their daughter. The film isn't interested in being a courtroom drama though, instead focusing on the blossoming relationship between Rooney Mara's Therese and Cate Blanchett's Carol.

Todd Haynes is known for his heightened style that evokes the melodrama of Douglas Sirk, for instance. His 2002 film Far From Heaven feels plucked from the cinema of the 1950s. However, Carol is a film that feels plucked from the New York streets of the 1950s as the aesthetic here is surprisingly naturalistic. It doesn't quite breach a documentary-esque style with Edward Lachman's understated and pleasantly grainy cinematography, but it all comes organically and authentically with the elegant fashion of production and costume design and the atmosphere that its cold Christmas setting provides. It's a very restrained film – as there are only two particularly intimate scenes – but the film carries an air of sexual and romantic tension throughout.

As Carol, Cate Blanchett challenges her polar opposite and equally excellent work with Haynes as a Bob Dylan incarnation in I'm Not There here. By nature of the film's structure, the first half is in the perspective of Therese and the second focuses on the perspective of Carol. There's an interesting inaccessibility about Blanchett in the first half that draws you into Therese's infatuation. Mara, one of the most promising actresses of this decade since her small memorable part in The Social Network, uses her own reserved detachness – something she's been frequently criticised for – to her own advantage. To watch someone like Therese open up after being so repressed is thoroughly cathartic.

However, Blanchett whips the film from under her feet in the second half. She litters the first half of the film with nuanced hints and clues to her past desires, also communicating so much with very little. She's elusive, but Mara is a key source of intrigue at that point due to the honesty in her performance and unexpected dry wit. Once Carol is struggling to deal with her own internal conflicts, Blanchett is on fire and burns the house down with her ultimate rebuttal of the accusations against her. Kyle Chandler, her suffering husband soon to be ex-husband, shows such painful anguish in his brief outbursts. It's a measured performance that anchors the film and the stakes of the relationships. Every performance of the ensemble – from extras to bit parts – are delivering among their finest work.

It's an all-rounder in terms of Oscar-contention, with Haynes perhaps being a more likely bet for Best Director than the film is for Best Picture. Blanchett has won too recently but if Weinstein works his magic, Mara would be a strong contender in either leading or supporting. Phyllis Nagy will certainly duel with Aaron Sorkin in Best Adapted Screenplay, even if her work is more patient, while the production and costume design ought to destroy competition. A sure bet should be Carter Burwell for his beautiful score that sunk my chest with its few powerful notes. It's an achingly tender film that will be timeless, even if it doesn't resonate with everyone with such specificity. Carol shouldn't just be a statement for our time and a condemnation for past mistakes, it's a demonstration that love is a part of the human condition regardless of sexuality.

8/10

It entertained me too much. Although it is a drama with perhaps more twists than it should have been, the cast captivates you and every detail amazes, even more, the visuals it has, so at least for me, I highly recommend it.

I loved this film for the subtleties. Lots of lingering, carefully framed shots and closeups. Lots of quiet scenes. Lots conveyed through looks and innuendo.

Rooney and Cate captured what it's like to be nervous yet excited while falling in love. It felt real. It felt like two people unsure of themselves, offering up just a bit of their true feelings at a time and waiting for the other person to do the same before revealing more.

Kyle Chandler's performance hasn't been commented on as much as the leads, but he was just as excellent. He played the part of tortured husband well without coming off as a mere villain. I sympathized with him and even understood where he was coming from.

I thought the film captured the time period in a very unique way. Nothing was overtly flashy or Normal Rockwell 50s, and at times it even felt gritty compared to most depictions of the era, but it was really beautiful.

The film stayed with me on the ride home, and I drove in silence while I reflected on it. That's how I judge a movie. If you are the type that loves character driven films, I'd very much recommend it. If you don't handle slow burn movies well, it might not be for you.

Imagine how The Blue Angel Marlene Dietrich meets Audrey Hepburn in Breakfast At Tiffany's. Two goddesses in love affair. An essence and definition of love in its core distilled through different bodies and remaining a mutual enjoying of the heart. There is some cold classical feeling from the 30's in this movie, though it was set in the early 1950s in the McCarthy's era of witch-hunts. No answers are provided here and no stretched details. All is centred around Kate Blanchet and Rooney Mara.What you have to do is just to sit down,relax and enjoy the smoky narrative with a scarce dialogue.The 16 mm grainy picture, Sandy Powell's period costumes , cinematography and film editing from Edward Lachman and Affonso Gonçalves ,all well fitted in Patricia Highsmith's "The Price Of Salt" novel deliver a new conversation between the movie and the viewer. It's not about others but it's all about us. This message is truly important these days. No satisfaction in the sense and laws of tradition but how tradition have shaped us to rethink the history. As John Grant sings in Glacier "Don't listen to anyone, get answers on your own/Even if it means that sometimes you feel quite alone,No one on this planet can tell you what to believe,People like to talk a lot, and they like to deceive". There are echoes of other movies here such as the cold sentimentality of Savage Grace , Far From Heaven (from same director Todd Haynes) - another forbidden love story, Brokeback Mountain and A Single Man - both tragic waste of lives. Carol in some ways captures few finest moments from all these movies but as mentioned before it transcends one step further. It neutralises the bitter ends replacing it with hope. It's not the usual Hollywood hope but your own personal hope.It inspires you to decide,design and photograph your life. Don't wait,do it now!

After you read the novel, your expectations about its adaptation are not small. The lead actresses are a good promise . But is it enough ? No doubts, yes. Because, for me, it is more than inspired adaptation of a good book. It is a gem, from performances to elegance, atmosphere, flavors and tension, from grace to bitterness. Rooney Mara and Cate Blanchett are the best options and you know that if you read, again, the book. It is a love story but it becomes, scene by scene, more. Maybe, a sort of confession. About a world, a meet, a clash and few people. And, not the last, in special manner, about yourself.