Professionally Amateur
Yo, hello :) I recently watched Carol because I felt like I was missing out on something I never knew I needed. The representation of the LGBTQIA+ community on television and film is something that is very important to me. So since I am taking a film studies course, I thought it would be nice to comment on this awesome movie . ENJOY :) x ~ I had the pleasure of watching this movie in the comfort of my own bedroom because if I had been anywhere else, I would have surely been kicked out for being “that annoying viewer”. The movie was everything I had never expected and even now, two hours after my second viewing, my heart is still recovering from the emotional rollercoaster. Referentially, the movie is set in 1951 overlapping into 1952 and in it an aspiring photographer named Therese Belivet (Rooney Mara) develops an intimate relationship with Carol Aird (Cate Blanchett). This relationship, inevitably, faces harsh consequences since it is set in a bigoted society against same sex relationships. Carol risks losing custody of her daughter, Rindy, because of a ‘morality clause’. This presents a dilemma for Carol and Therese’s relationship but Carol eventually finds her way around it (by giving up custody of her daughter *tear tear*). In the opening scene, it’s not clear to the viewer that scene is from later on when much has developed but you can certainly assume so. The visual cues are there: the way they look at each other from Jack’s point of view and how Therese looks at her shoulder once Carol touches it. The viewer can immediately sense the sexual tension between the characters. Luckily, the scene is repeated later with more context and my little viewer heart flutters so much. Why? Well, in a different point of view, the scene shows Carol confessing her love for Therese and it immediately carries more weight. While some may argue that the movie does not allow character development and the viewer might not be able to fully sympathise with the characters. I believe that although the visual content might not provide the cues we are looking for in terms of development, the use of language covers up for that. For example, in the montage clip where Therese is reading the letter from Carol and the voice over utters “Please believe that I would do anything to see you happy and so I do the only thing I can- I release you”. That line provides the viewer with something rarely seen visually- affection. Now the film is one filled with many silent moments but those moments are made up for with gazes from both Carol and Therese. One can mistakingly interpret Carol’s gaze from the very start as predatory but I would pin it as the fear of bearing it all for the world to see. Before I get to the cinematography, I would like to talk about my absolute FAVOURITE scene. I would like to point out the reason why I love this part is because it depicts what we have not been feeling in this film- AFFECTION. A lot of time is spent on driving the plot than actually driving the emotions that brought Carol and Therese together in the first place. In almost all their interaction, both women are afraid to completely show their undeniable feelings for each other. Okay, back to my part. It occurs after they realise that Carol’s soon-to-be ex-husband, Harge Aird, has a tape recording of them doing the horizontal polka *nudge nudge wink wink*. That night, at a motel I presume, Therese goes to her own bed but Carol tells her that she does not have to sleep there. Here’s the good part: While Therese is walking over to Carol, who is on her bed, I expected them to immediately get down and funky because of their recent behaviour but they don’t. Instead, they HUG!? And this is not a normal hug, no sir-y, this hug communicates “we are in the quickest of quick sands but we will pull through”. My heart, at that moment, is thumping and I’m almost crying. After the hug comes the kiss, obviously, but the camera cuts to them sleeping and pans over to their intertwined bodies and Carol’s arm over Therese’s waist- holding on for dear life. This scene spoke volumes to me and it is the one I truly appreciate. Now on to the cinematography of the film. Close-ups, this film is filled with them. Wether extreme close-ups or just average close-ups, they are everywhere. In my opinion, they add a sense of understanding to the film. They allow the viewer to study the facial expressions and try and draw interpretations. Another camera technique, which I do not know the name of, is when the camera seems to be in the next room looking on to the action. It gave me the sense of peeking, for example when Therese was going back home and the camera seemed to be in the car across the street looking through the window. The technique surely helped make the film objective because the situation presented in the film would be too heavy for a viewer to feel involved in and feel some sort of responsibility. In conclusion, the film is excellent in depicting the sort of challenges a same sex couple would face in a bigoted 1950s society. I also like that not much emphasis was placed on the age difference because that is definitely NOT what was wrong in the film. It is certainly a movie I would watch again and again and again! No doubt. Please remember that this is my own opinion on the film and you are more than welcome to have your own :). Thank you, Ciao. LOVE. PEACE. LIGHT ATHENA I don't know what I want. How could I know what I want if i say yes to everything?- Therese Belivet (Rooney Mara)
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November 2015
AuthorLiving between galaxies, interacting with lost souls. My days are always filled with moments of vague and fantastic melancholy. Categories |