In Todd Haynes’ picture-perfect design of aching mid-century refinement and repression, Carol (adapted from the Patricia Highsmith novel, The Price of Salt), our titular maddening matron (Cate Blanchett) meets her soon-to-be lover/shop girl Therese (Rooney Mara) in the toy department while looking for a doll for her four-year girl for Christmas. Therese convinces her instead to buy a train set. The whole film, delicately detailed and quietly chugging along, is like that perfectly constructed train set – and the characters are all there perfect in their places…until they aren’t…until their desires cause everything that was supposed to represent the American Dream in the 1950’s to derail.
Haynes and his lead, Blanchett, are firmly in their wheelhouses. Blanchett is right at home depicting a troubled woman stuck at the echelons of society in an impossibly well-do-family with a controlling husband (Kyle Chandler) and adorable little girl with impossibly WASPy names like Harge and Rindy. She was made to play this type of role, a woman of carefully controlled mannerisms hiding her repression and passions. Continue reading →
I could’ve done without the “the” in Terrence Malick’s latest cinematic symphony To the Wonder.
…that is what Malick’s life as an artist has been all about. To wonder…what it’s like to kill for the heck of it (Badlands)…to love when life is like a shaft of wheat blowing in the wind (Days of Heaven)….to wonder what it’s like to kill someone and mean it, to live
and love in war (The Thin Red Line)…to wonder what it was like to discover a new land, a new love, a new way of life (The New World)…to wonder about the beginning and end of time and the loss of a loved one (The Tree of Life).