An Honor To Be Nominated: Carol

THE CONTENDER: Carol (2015)

Number of Nominations: 6 – Actress (Cate Blanchett); Supporting Actress (Rooney Mara); Adapted Screenplay (Phyllis Nagy); Cinematography (Edward Lachman); Costume Design (Sandy Powell); Original Score (Carter Burwell)

Number of Wins: 0

Patricia Highsmith’s first novel, Strangers On A Train, was published in 1950. Just one year later, before she’d even published her second book, Alfred Hitchcock’s movie adaptation premiered. Pretty impressive for a first-timer. Over the next forty-plus years, Highsmith would publish 22 novels and 9 collections of short stories, many of which would subsequently be adapted for film and television. Her work has attracted a diverse, international line-up of filmmakers, including Wim Wenders, Anthony Minghella, Claude Chabrol, and Liliana Cavani, and will likely continue to do so for as long as people make movies based on books. But despite her enduring popularity among filmmakers, it would be decades before anyone would even consider making a movie based on that second book. Indeed for many years, no one even realized she had written it.

In 1951, Highsmith published the novel The Price Of Salt under the name “Claire Morgan”. It had been rejected by her first publisher and strongly discouraged by her agent, who warned against following up a best-selling suspense novel with a novel about a lesbian relationship. For her part, Highsmith kind of agreed with that assessment. The Price Of Salt was highly personal and even a bit autobiographical. She knew she had more thrillers in her but she wasn’t entirely certain that she’d ever write another novel quite like this one. So it was published pseudonymously and went in and out of print over the years, despite being well-regarded, especially among the gay and lesbian community for its then-groundbreaking depiction of a same-sex relationship that doesn’t end in tragedy. It wasn’t until 1990 that Highsmith finally allowed the book, now retitled Carol, to be published under her own name.

It took a number of years for the movie version of Carol to make it to theatres, which is probably just as well. The extra development time allowed the project to attract the ideal creative team. Playwright Phyllis Nagy, a friend of Highsmith’s, wrote her first draft of the screenplay all the way back in 1997. The project then went through multiple stars, directors and financers, before finally attracting the attention of Cate Blanchett. Blanchett was the perfect choice to play Carol Aird, the sophisticated older woman who enters into an affair with young shopgirl Therese Belivet. Very few actresses are as effortlessly alluring as she. From the second Therese spots Carol across the crowded sales floor, you can completely understand why she caught her eye.

Scheduling conflicts continued to pose a problem for the production as various directors came and went. Finally, the script landed in front of Todd Haynes, which is really where it should have been in the first place. Haynes had already hit a home run with the 1950s-set Far From Heaven, a modern updating of Douglas Sirk’s Technicolor melodramas. Carol, while certainly more grounded in realism than the earlier film, is still very much a spiritual cousin to the themes and ideas explored in Far From Heaven.

As Therese, Haynes cast Rooney Mara, stepping into the role after Mia Wasikowska had to bow out. Mara tends to bring a studied theater major intensity to everything she does and, depending on the role, I find that to be a little off-putting. But she’s great in this part, striking just the right balance of hunger for new experiences, naivete, strength, and passion. Carol isn’t exactly a coming-of-age movie but it’s definitely a story about Therese coming into her own, realizing who she is and what she wants out of life, and embracing it. Every step of that journey is reflected in Mara’s large, expressive eyes and her body language.

It’s also reflected in the subtle, meticulously detailed costumes designed by Sandy Powell. Despite going through a bitter divorce and custody battle, Carol already knows who she is. Her clothes are the elegant, luxurious dresses and furs you’d expect from a woman of means. But Therese’s look changes incrementally over the course of the film, going from plain, sensible, almost childlike outfits early on to more fashion-forward designs that are perhaps influenced by Carol’s tastes but are clearly Therese’s own. By film’s end, she takes ownership of her life, her identity and her look.

The attention to period detail shines in both Powell’s costumes and in the production design and set decoration by Judy Becker and Heather Loeffler. Becker and Loeffler weren’t nominated for their work but they certainly should have been. All of this is captured lovingly by Edward Lachman’s gorgeous cinematography. Lachman had previously been nominated for his work on Far From Heaven. While that film was all bright autumnal colors, Carol has a much grayer palette, highly suggestive of the dirty, cold winter months. But Lachman also makes great use of close-ups, resulting in remarkably tactile imagery. It truly feels as though you could reach into the screen and touch the cars, the fabrics, even the curls of Blanchett’s hair. It’s an extremely sensuous film and the desire between Carol and Therese radiates off the screen.

Carter Burwell’s lush score also contributes a great deal to the film’s sense of longing. Remarkably, this was Burwell’s first Oscar nomination, despite longtime collaborations with Oscar favorites like the Coen brothers and Spike Jonze. His work here ranks among his finest scores, with swirling, haunting strings that linger in the memory long after the film ends.

Carol racked up six Academy Award nominations, which is certainly nothing to sneeze at. However, it was almost certainly never going to win any. It’s unusual for a movie to score that many nominations, including two acting nods, and not be nominated for Best Picture. Carol‘s absence in the big category was a bit of a mystery. The Academy recognized 8 films that year. That’s two shy of the 10 allowable under current rules. Carol could have (and, I’d argue, should have) easily been included without knocking any of the other titles out of the race.

As great as she is in the film, Blanchett was not likely to win Best Actress. She’d already won twice, most recently just two years prior to Carol, so the Academy would want to give someone else a turn. It also wouldn’t be Rooney Mara’s year. This was her second nomination and she’d been pegged as someone who’d likely have plenty of other chances in the future. And so, with the movie squeezed out of the biggest categories and unlikely to win anything for its marquee names, Carol was relegated to also-ran status.

Fortunately, I think Carol will have a longer shelf-life than some of the other movies it was up against that year. Films like Spotlight and The Big Short seem very “of the moment”, movies that if you haven’t watched within about a year, you’re probably never going to. By expertly evoking a very specific time and place in the not-too-distant past, Todd Haynes was able to create a film that seems timeless. The boldest thing about it is how unassuming and matter-of-fact it is. Carol presents a relationship between two women that’s as universal and recognizable as any love story ever told. Afterward, the very idea that someone could find such a relationship controversial seems absurd. In its own way, I suppose that is a quietly revolutionary concept.

Carol is available on Blu-ray, DVD and Digital from Anchor Bay Entertainment.

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