At first blush, “Carol” threatens to be another luxuriously indulgent, but dramatically inert, pastiche of 1950s melodrama from Todd Haynes. Specifically, the story of a blossoming love between Carol Aird (Cate Blanchett), a mother shackled by a socialite marriage she loathes, and Therese Belivet (Rooney Mara), a wispy shopgirl-cum-photographer whose lens and life lack focus, would seem a distaff retread of the repressed homosexuality from Haynes’ “Far From Heaven. It may be a minority opinion, but the meticulously stitched ’50s fabrics seemed to fit ill on the frame of that 2002 film.
Carol
Carol
Carol
At first blush, “Carol” threatens to be another luxuriously indulgent, but dramatically inert, pastiche of 1950s melodrama from Todd Haynes. Specifically, the story of a blossoming love between Carol Aird (Cate Blanchett), a mother shackled by a socialite marriage she loathes, and Therese Belivet (Rooney Mara), a wispy shopgirl-cum-photographer whose lens and life lack focus, would seem a distaff retread of the repressed homosexuality from Haynes’ “Far From Heaven. It may be a minority opinion, but the meticulously stitched ’50s fabrics seemed to fit ill on the frame of that 2002 film.