Andrew reviews the new Todd Haynes Cannes favorite, Carol.
|Stop kissing me and |
calling me Kate Hepburn, damn it!
Shot on Super 16mm by the great cinematographer and frequent Haynes collaborator Ed Lachmann (Erin Brockovich, The Virgin Suicides), Carol immediately bears the distinction of a lush projected-on-a-thick-carpet visual texture with heavy grains, intentional softness and saturated colors. Reminiscent of 1950s Technicolor melodramas, hence the Sirk connection, the viewer is thrust into the past as though it were a painterly snapshot by a gifted still photographer. There's also, for those who are really looking, a subtle shift in brightness and contrast over the course of the picture, beginning in soft, dimly lit purplish hues before the intensification of the two leads' relationship gradually brightens the image noticeably higher over the course of the movie. Special attention to detail is paid on the set and costume design of the era, right down to the interior decor of a record store to the local shopping mall that will no doubt remind some viewers of Macy's from the 1947 Miracle on 34th Street. Also strong and uniquely affecting is Coen Brothers' frequent collaborator Carter Burwell, who provides a score that is at once subtle, haunting and even exaltant, providing the melodrama with a rich flavor of extraordinary emotions. It goes without saying the performances across the board are superb and Rooney Mara absolutely deserved the Best Actress Award at this year's Cannes Film Festival despite possibly being upstaged by Cate Blanchett on more than one occasion.
|Sshhhhhh....I'm trying to get a photo|
of the girl with a dragon tattoo.