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50年代的美国，年轻女子特芮丝（鲁妮·玛拉 饰）在纽约百货公司担任售货员，但心中向往的却是摄影师工作。某日，一位美丽优雅的金发贵妇卡罗尔（凯特·布兰切特 饰）来到百货公司购买圣诞节礼物，结果和特芮丝一见投缘。两人相识后特芮丝得知原来卡罗尔有一个女儿，而且正和丈夫哈吉（凯尔·钱德勒 饰）办理离婚手续。通过书信来往、约会相处以及公路旅行，特芮丝和卡罗尔发现彼此就是自己的真爱，然而在当时社会这是不被允许的。特芮丝的男友认为她只是一时迷惑，卡罗尔的丈夫则请私家侦探调查取证，希望在离婚诉讼中让她一无所有。考验两位女性的时刻终于到来了：在社会压力下她们能否坚守内心、不计代价的把感情路走到底？ 《卡罗尔》是美国著名独立导演托德·海恩斯的新作，入围第68届戛纳电影节主竞赛单元，获得最佳女主角奖。电影根据派翠西亚·海史密斯在1952年匿名发表的中篇女同小说《盐的代价》改编，由于题材敏感，最初出版社还拒绝发行。之所以叫“盐的代价”，因为在17世纪“盐”还有另一个意思表示女性的情欲。而在本书中它隐喻了女主们的处境：没有爱情就像没有盐的肉；那么为了这份爱，你愿意付出多少代价?斗罗大陆3龙王传说 动态漫画 第三季横行天下未来的满级甜诱，在傅爷的怀里声色撩人安德里耶什花都少帅苹果核战记2非亲父子迎向光影消逝的年代YMCA棒球队观鸟者2019失忆的梦想德云社岳云鹏相声专场北京站2018现代狙击手 第一季网走番外地美娜的文具店我的陌生父亲腹黑女秘穿普拉达的女王（原声版）花枪缘向阳花开圣诞列车逝风残梦美丽的他 第二季大漠情怨焦糖楚留香皇家国教骑士团外传：黎明微不足道的事情少女椿明天会好的（独家幕后）绝对纯白魔法少女穿越大盜极品山炮之恋爱大师吸血鬼3恶魔城东北警察故事小可爱2004魔鬼骑士顽皮家族破茧成蝶蝙蝠侠：侠影之谜（原声版）
50年代的美国，年轻女子特芮丝（鲁妮·玛拉 饰）在纽约百货公司担任售货员，但心中向往的却是摄影师工作。某日，一位美丽优雅的金发贵妇卡罗尔（凯特·布兰切特 饰）来到百货公司购买圣诞节礼物，结果和特芮丝一见投缘。两人相识后特芮丝得知原来卡罗尔有一个女儿，而且正和丈夫哈吉（凯尔·钱德勒 饰）办理离婚手续。通过书信来往、约会相处以及公路旅行，特芮丝和卡罗尔发现彼此就是自己的真爱，然而在当时社会这是不被允许的。特芮丝的男友认为她只是一时迷惑，卡罗尔的丈夫则请私家侦探调查取证，希望在离婚诉讼中让她一无所有。考验两位女性的时刻终于到来了：在社会压力下她们能否坚守内心、不计代价的把感情路走到底？ 《卡罗尔》是美国著名独立导演托德·海恩斯的新作，入围第68届戛纳电影节主竞赛单元，获得最佳女主角奖。电影根据派翠西亚·海史密斯在1952年匿名发表的中篇女同小说《盐的代价》改编，由于题材敏感，最初出版社还拒绝发行。之所以叫“盐的代价”，因为在17世纪“盐”还有另一个意思表示女性的情欲。而在本书中它隐喻了女主们的处境：没有爱情就像没有盐的肉；那么为了这份爱，你愿意付出多少代价?斗罗大陆3龙王传说 动态漫画 第三季横行天下未来的满级甜诱，在傅爷的怀里声色撩人安德里耶什花都少帅苹果核战记2非亲父子迎向光影消逝的年代YMCA棒球队观鸟者2019失忆的梦想德云社岳云鹏相声专场北京站2018现代狙击手 第一季网走番外地美娜的文具店我的陌生父亲腹黑女秘穿普拉达的女王（原声版）花枪缘向阳花开圣诞列车逝风残梦美丽的他 第二季大漠情怨焦糖楚留香皇家国教骑士团外传：黎明微不足道的事情少女椿明天会好的（独家幕后）绝对纯白魔法少女穿越大盜极品山炮之恋爱大师吸血鬼3恶魔城东北警察故事小可爱2004魔鬼骑士顽皮家族破茧成蝶蝙蝠侠：侠影之谜（原声版）
长篇影评
1 ) Carol - 很美很美的爱情
warning：全是剧透！
记得差不多半年前，在微博上被魔王和小白兔的嘎纳照片刷屏。于是默默的去Amazon买了Kindle版的来看。对于能下载绝不购买的我来说，这绝对算是难得的了。这是我第一本完整看完的英语小说/书。当时就有冲动写读后感，但又觉得可以等电影结束后，在好好一起来写。于是，现在就有种终于看完电影来交作业的感觉。
电影和小说一样，其实情节非常简单。简单到都觉得没有剧透的意义。这是正在离婚中的贵妇Carol与处于人生迷茫阶段的售货员+摄影师Therese相爱的故事。小说的精妙在于，它完全着点与Therese的视角，于是作为读者的我，就可以完全感同身受的和她一起心动，一起因为Carol的邀约而兴奋，连那小鹿乱撞的心跳都那么的真实。当时小说最大的悬念就是，Carol是否爱着，她有多爱。就像你暗恋一个人的时候，你最想知道的就是她爱不爱我，有多爱。于是这条线就带出了小说中我最爱的三段情节。
1. Therese第一次在Waterloo的旅馆里向Carol表白。那段场景写的很奇妙。Therese是在睡前，以很困倦，很模糊的状态下说出I love you的。而作为读者的我，也突然像从困倦与睡意中惊醒一样，看着Carol一脸淡然又宠溺的说，难道你不知道我一直爱你吗？那样一种尘埃落定的幸福感，也许真的只有在小说的单视角下才能感受得到。之后就是两人做爱的情节。然而在电影中，这一段则是用完全不同的表达方式。
2. Carol第一次知道她们有可能被私家侦探跟踪。她问Therese，是想要继续旅行还是停止。Therese说想要继续，然后Carol就很坚决的说，那么我们就继续。这是在Carol完全知道自己在走钢丝的情况下做出的选择，而这一刻，我是真的看到，Carol不仅爱着，而且爱的很深，很任性。遗憾的是，这一段在电影中完全被省略了。电影后半段的节奏非常快，反而将有些情绪忽略了。这个后面聊到电影的时候再说。
3. Therese回到NY后，第一次和Carol见面。此时已经完全成长后的Therese和刚接受完人生残酷洗礼的Carol。小说中，两人聊着过去，聊着发生过的种种。Carol第一次主动说‘我爱你’。停顿之后，又加上，但是我知道你不再爱我了。哪怕如此，她还是说着自己如何放弃Rindy的抚养权，因为她不愿意屈服，永远不再见Therese。那种淡然的语气仿佛在说着别人的事。以至于，最后当她向Therese发出住在一起的邀请时，你似乎感受不到那些话的重量。就这么冷静的说着爱你，冷静的孤注一掷，到最后冷静的接受拒绝。
这就是书里的那个Carol，爱的很高傲，很自我，但也奋不顾身。有意思的是，虽然书里Carol的情节并不多，心理描绘是完全没有。但是反而让读者更容易把所有的注意力都集中在她身上。与之相反的，是电影。两人的戏份与视角非常平均，而也正是这种平均，让电影展现了完全不同画面感。
=====================我是电影与小说的分割线===========================
个人非常喜欢电影前面3/4部分（到两人被发现，Carol抛下Therese离开）。哪怕节奏非常慢，慢到你似乎感觉没发生什么事情，但是情绪却非常的饱满。从两人在百货商店初遇，Carol就很肆无忌惮的打量着Therese。眼神，言语，甚至是肢体上，似有若无的调戏随处可见。从第一次邀请来家中，到圣诞节送礼物，到两人开始公路旅行，到Carol亲吻Therese。。。从一开始，Carol就占据着完全的主动。说得通俗点，就像霸道总裁追灰姑娘的感觉。而Therese从头到尾都只有在说“好哒”。这和小说有着些许的不同。小说中，Therese在没有任何缘由的情况下给Carol写圣诞贺卡，才让两人有了后续（电影中是Carol故意留下手套）；小说中，Therese在圣诞节给Carol买了个巨贵的包包，哪怕明知道自己经济上很拮据 （而电影中则是Carol在知道Therese的摄影师梦想后给她买了专业摄像机）；小说中是Therese首先表白，挑明了两人的暧昧（而电影中完全没有表明心迹的部分，直接是Carol主动的接吻）。个人猜想，电影中Therese的被动，也是为了凸显出她在初期的迷茫和不知所措。和分手之后她的变化，并且对Carol说No形成鲜明的对比。
电影情节方面亮点还是不少的：
1. 前面提到的Carol对Therese的调戏和勾引（想不出更适合的词了）。全剧Carol一共抚摸过Therese的肩膀4次。每一次都有不一样的含义，而每一次Therese都会有很明显的反应（害羞，紧张，震惊…）。这也是我说，为什么电影中，虽然Carol主动很多，但是跟多Therese身上的情绪也非常的有张力。至于眼神的调戏就不说。各种媚眼，以及大胆的审视。老实说，这真的给电影带来很多的乐趣。
2. Sex Scene。终于明白，为什么各种记者会，访问中，大家都这么爱问这段激情戏。因为这段戏真的比我想象中要大胆很多。而且所表达的情绪实在是太棒了。我看过的大部分电影里，激情戏主要分两种，一种是纯粹的lust：比如酒后，比如某种冲动，比如纯属打炮。还有一种，就是很多爱情电影中，特别文艺又带有美感的激情戏。基本上会特别渲染环境，然后两人接吻，倒在床上，远镜头，然后就第二天天亮了。Carol的床戏却远远超过这些。从最开始Carol解开自己睡袍的腰带，到接吻，到床上肢体的交融，Carol的主导，Therese的反应…等等等等。我有种，wow，这才是literally的做爱（make love）的感觉。导演把这段情节拍的很大胆，但又非常的美。你能感到两人的passion，但又很清楚的明白，这不只是纯粹的lust。那种相爱，想要靠的更近的感觉，是让人透不过气的。这段戏时间不短，所以真的是舔屏党的福利啦。
之后还有一场相对比较短的亲热戏。是在两人被发现之后。观众应该可以明显的感觉到情绪的不同。这一段中，两人拥抱和亲吻中带着更多更多的绝望与迫切。
唯一比较遗憾的是，两场戏间隔非常近，中间夹的那场还是发现自家侦探窃听的高潮戏，于是三场戏连在一起，显得非常的赶，还没消化掉呢，就移到下一步了。
3. Therese 的摄影师职业。小说中，Therese的职业是剧场的场景设计（set designer？）。之前不理解这个改变，但是电影中，摄影师的设定真的非常棒！Therese镜头下Carol是真的美。同时也对Therese的个性发展起到很大的作用（老实说，这部电影，要从角色发展的角度，Therese是远大于Carol的）。还有中间很有意思的一场戏，两人刚开始旅行时，在餐厅，Therese就直接拿起照相机对着Carol拍（好痴汉），Carol还害羞，玩笑间，两人的手触碰到。非常喜欢这种甜蜜的瞬间。而两人分开后，Therese看着Carol的照片，那种虐也是彻心彻骨的。
4. 最后一场对视。很多人都提到过这场戏，因为真的很赞，也因为这段情节，这个故事最后被定格为Happy Ending。而小说也成为那个时代第一部HE的Les爱情故事。个人觉得，这一幕的重点是Therese。从她走进饭店，寻找Carol，从最开始的着急，到最后就这么凝视的，脸上的变化，那个眼神真的可以让我联想到小说最后一段的描写：
...and Therese smiled because the gesture was Carol, and it was Carol she loved and would always love...but it was still Carol and no one else. It would be Carol, in a thousand cities, a thousand houses, in foreign lands where they would go together, in heaven and in hell.
那一幕，从Therese的脸上，我真的可以看到，不管路过多少城市，多少地方，天堂和地狱，她爱的永远是那个Carol，那个唯一的Carol。
至于情节上不太满意的地方也是有的。比如最开始提到的，电影中后段节奏非常赶，感觉两人才开始就结束了。也因为这样，其实Carol对Therese的爱也表达的不是很够。小说中，你能觉得，Carol的爱是不断递增的，到最后放弃所有来到Therese面前时，达到顶峰。而电影里的至高点反而是在中间，旅行的部分。并且电影里对于Carol母亲形象的塑造很深刻，反而有一点点掩盖掉她对Therese的感情。特别是最后，我记得小说中，Carol基本是为了Therese放弃了见到Rindy的机会（抚养权什么的早就因为她和Therese的行为一败涂地了）。而电影里，Carol是为了让Rindy有一个稳定的生活，而不是看着父母不断的挣抚养权，而放弃的争斗。后半段发生的事情很多，但是可能因为太赶，反而显得有些松散，不像前期那么饱满。当然还有一些被删掉的情节比如Therese的表白啦，两人的一场浴室戏份啦。。。总觉得两人旅行的部分的戏份还该再多一些。但是毕竟你永远没办法把一部小说完整的塞到电影里，做人也不能太贪心。
========================其他废话的分割线============================
说完情节的部分，在随便说些其他的。这部电影的制作的真的棒，从导演到演员。老实说，这部电影不容易拍，因为情节实在是太简单了，没啥太多的一波三折，怎么样不拍成俗套的爱情故事片，还是非常有挑战的。Todd的画面真的实在是太美了。很多视角很特别，比如当Therese观察Carol，镜头就会只拍到Carol的局部（比如只拍手指，袖子。。等等）。再比如，这次很多镜头都是靠镜子或者窗的反射，或者透过窗户来拍摄的。我不是太了解这样的目的，但是作为观众的我还是很享受这样的画面的。电影的原声也很棒。虽然很多都是那段主旋律的翻来覆去，但是真的非常有感觉，也把情节烘托的很好。
当然最后不能略过的是演员们。演技都是杠杠的！配角们都各司其职。Cate一贯的高水平表演，Rooney妹子却是有惊喜。感觉是一部看几遍都不过瘾的片子。Cate的身材出乎意料的好。背部和手臂的曲线非常的漂亮，也很结实。比较好笑的是，两场床戏里，Rooney的脸都是通通红的，而且都是一路红到耳根。想说，Rooney自称裸的都习惯了，这里还是害羞哈！
马上到来的各种award season，Carol其实不是传统的热门片类型。但是希望有好运！
总分5星还是必须的。但是从电影角度，给4星，还有一星是私心！
记得差不多半年前，在微博上被魔王和小白兔的嘎纳照片刷屏。于是默默的去Amazon买了Kindle版的来看。对于能下载绝不购买的我来说，这绝对算是难得的了。这是我第一本完整看完的英语小说/书。当时就有冲动写读后感，但又觉得可以等电影结束后，在好好一起来写。于是，现在就有种终于看完电影来交作业的感觉。
电影和小说一样，其实情节非常简单。简单到都觉得没有剧透的意义。这是正在离婚中的贵妇Carol与处于人生迷茫阶段的售货员+摄影师Therese相爱的故事。小说的精妙在于，它完全着点与Therese的视角，于是作为读者的我，就可以完全感同身受的和她一起心动，一起因为Carol的邀约而兴奋，连那小鹿乱撞的心跳都那么的真实。当时小说最大的悬念就是，Carol是否爱着，她有多爱。就像你暗恋一个人的时候，你最想知道的就是她爱不爱我，有多爱。于是这条线就带出了小说中我最爱的三段情节。
1. Therese第一次在Waterloo的旅馆里向Carol表白。那段场景写的很奇妙。Therese是在睡前，以很困倦，很模糊的状态下说出I love you的。而作为读者的我，也突然像从困倦与睡意中惊醒一样，看着Carol一脸淡然又宠溺的说，难道你不知道我一直爱你吗？那样一种尘埃落定的幸福感，也许真的只有在小说的单视角下才能感受得到。之后就是两人做爱的情节。然而在电影中，这一段则是用完全不同的表达方式。
2. Carol第一次知道她们有可能被私家侦探跟踪。她问Therese，是想要继续旅行还是停止。Therese说想要继续，然后Carol就很坚决的说，那么我们就继续。这是在Carol完全知道自己在走钢丝的情况下做出的选择，而这一刻，我是真的看到，Carol不仅爱着，而且爱的很深，很任性。遗憾的是，这一段在电影中完全被省略了。电影后半段的节奏非常快，反而将有些情绪忽略了。这个后面聊到电影的时候再说。
3. Therese回到NY后，第一次和Carol见面。此时已经完全成长后的Therese和刚接受完人生残酷洗礼的Carol。小说中，两人聊着过去，聊着发生过的种种。Carol第一次主动说‘我爱你’。停顿之后，又加上，但是我知道你不再爱我了。哪怕如此，她还是说着自己如何放弃Rindy的抚养权，因为她不愿意屈服，永远不再见Therese。那种淡然的语气仿佛在说着别人的事。以至于，最后当她向Therese发出住在一起的邀请时，你似乎感受不到那些话的重量。就这么冷静的说着爱你，冷静的孤注一掷，到最后冷静的接受拒绝。
这就是书里的那个Carol，爱的很高傲，很自我，但也奋不顾身。有意思的是，虽然书里Carol的情节并不多，心理描绘是完全没有。但是反而让读者更容易把所有的注意力都集中在她身上。与之相反的，是电影。两人的戏份与视角非常平均，而也正是这种平均，让电影展现了完全不同画面感。
=====================我是电影与小说的分割线===========================
个人非常喜欢电影前面3/4部分（到两人被发现，Carol抛下Therese离开）。哪怕节奏非常慢，慢到你似乎感觉没发生什么事情，但是情绪却非常的饱满。从两人在百货商店初遇，Carol就很肆无忌惮的打量着Therese。眼神，言语，甚至是肢体上，似有若无的调戏随处可见。从第一次邀请来家中，到圣诞节送礼物，到两人开始公路旅行，到Carol亲吻Therese。。。从一开始，Carol就占据着完全的主动。说得通俗点，就像霸道总裁追灰姑娘的感觉。而Therese从头到尾都只有在说“好哒”。这和小说有着些许的不同。小说中，Therese在没有任何缘由的情况下给Carol写圣诞贺卡，才让两人有了后续（电影中是Carol故意留下手套）；小说中，Therese在圣诞节给Carol买了个巨贵的包包，哪怕明知道自己经济上很拮据 （而电影中则是Carol在知道Therese的摄影师梦想后给她买了专业摄像机）；小说中是Therese首先表白，挑明了两人的暧昧（而电影中完全没有表明心迹的部分，直接是Carol主动的接吻）。个人猜想，电影中Therese的被动，也是为了凸显出她在初期的迷茫和不知所措。和分手之后她的变化，并且对Carol说No形成鲜明的对比。
电影情节方面亮点还是不少的：
1. 前面提到的Carol对Therese的调戏和勾引（想不出更适合的词了）。全剧Carol一共抚摸过Therese的肩膀4次。每一次都有不一样的含义，而每一次Therese都会有很明显的反应（害羞，紧张，震惊…）。这也是我说，为什么电影中，虽然Carol主动很多，但是跟多Therese身上的情绪也非常的有张力。至于眼神的调戏就不说。各种媚眼，以及大胆的审视。老实说，这真的给电影带来很多的乐趣。
2. Sex Scene。终于明白，为什么各种记者会，访问中，大家都这么爱问这段激情戏。因为这段戏真的比我想象中要大胆很多。而且所表达的情绪实在是太棒了。我看过的大部分电影里，激情戏主要分两种，一种是纯粹的lust：比如酒后，比如某种冲动，比如纯属打炮。还有一种，就是很多爱情电影中，特别文艺又带有美感的激情戏。基本上会特别渲染环境，然后两人接吻，倒在床上，远镜头，然后就第二天天亮了。Carol的床戏却远远超过这些。从最开始Carol解开自己睡袍的腰带，到接吻，到床上肢体的交融，Carol的主导，Therese的反应…等等等等。我有种，wow，这才是literally的做爱（make love）的感觉。导演把这段情节拍的很大胆，但又非常的美。你能感到两人的passion，但又很清楚的明白，这不只是纯粹的lust。那种相爱，想要靠的更近的感觉，是让人透不过气的。这段戏时间不短，所以真的是舔屏党的福利啦。
之后还有一场相对比较短的亲热戏。是在两人被发现之后。观众应该可以明显的感觉到情绪的不同。这一段中，两人拥抱和亲吻中带着更多更多的绝望与迫切。
唯一比较遗憾的是，两场戏间隔非常近，中间夹的那场还是发现自家侦探窃听的高潮戏，于是三场戏连在一起，显得非常的赶，还没消化掉呢，就移到下一步了。
3. Therese 的摄影师职业。小说中，Therese的职业是剧场的场景设计（set designer？）。之前不理解这个改变，但是电影中，摄影师的设定真的非常棒！Therese镜头下Carol是真的美。同时也对Therese的个性发展起到很大的作用（老实说，这部电影，要从角色发展的角度，Therese是远大于Carol的）。还有中间很有意思的一场戏，两人刚开始旅行时，在餐厅，Therese就直接拿起照相机对着Carol拍（好痴汉），Carol还害羞，玩笑间，两人的手触碰到。非常喜欢这种甜蜜的瞬间。而两人分开后，Therese看着Carol的照片，那种虐也是彻心彻骨的。
4. 最后一场对视。很多人都提到过这场戏，因为真的很赞，也因为这段情节，这个故事最后被定格为Happy Ending。而小说也成为那个时代第一部HE的Les爱情故事。个人觉得，这一幕的重点是Therese。从她走进饭店，寻找Carol，从最开始的着急，到最后就这么凝视的，脸上的变化，那个眼神真的可以让我联想到小说最后一段的描写：
...and Therese smiled because the gesture was Carol, and it was Carol she loved and would always love...but it was still Carol and no one else. It would be Carol, in a thousand cities, a thousand houses, in foreign lands where they would go together, in heaven and in hell.
那一幕，从Therese的脸上，我真的可以看到，不管路过多少城市，多少地方，天堂和地狱，她爱的永远是那个Carol，那个唯一的Carol。
至于情节上不太满意的地方也是有的。比如最开始提到的，电影中后段节奏非常赶，感觉两人才开始就结束了。也因为这样，其实Carol对Therese的爱也表达的不是很够。小说中，你能觉得，Carol的爱是不断递增的，到最后放弃所有来到Therese面前时，达到顶峰。而电影里的至高点反而是在中间，旅行的部分。并且电影里对于Carol母亲形象的塑造很深刻，反而有一点点掩盖掉她对Therese的感情。特别是最后，我记得小说中，Carol基本是为了Therese放弃了见到Rindy的机会（抚养权什么的早就因为她和Therese的行为一败涂地了）。而电影里，Carol是为了让Rindy有一个稳定的生活，而不是看着父母不断的挣抚养权，而放弃的争斗。后半段发生的事情很多，但是可能因为太赶，反而显得有些松散，不像前期那么饱满。当然还有一些被删掉的情节比如Therese的表白啦，两人的一场浴室戏份啦。。。总觉得两人旅行的部分的戏份还该再多一些。但是毕竟你永远没办法把一部小说完整的塞到电影里，做人也不能太贪心。
========================其他废话的分割线============================
说完情节的部分，在随便说些其他的。这部电影的制作的真的棒，从导演到演员。老实说，这部电影不容易拍，因为情节实在是太简单了，没啥太多的一波三折，怎么样不拍成俗套的爱情故事片，还是非常有挑战的。Todd的画面真的实在是太美了。很多视角很特别，比如当Therese观察Carol，镜头就会只拍到Carol的局部（比如只拍手指，袖子。。等等）。再比如，这次很多镜头都是靠镜子或者窗的反射，或者透过窗户来拍摄的。我不是太了解这样的目的，但是作为观众的我还是很享受这样的画面的。电影的原声也很棒。虽然很多都是那段主旋律的翻来覆去，但是真的非常有感觉，也把情节烘托的很好。
当然最后不能略过的是演员们。演技都是杠杠的！配角们都各司其职。Cate一贯的高水平表演，Rooney妹子却是有惊喜。感觉是一部看几遍都不过瘾的片子。Cate的身材出乎意料的好。背部和手臂的曲线非常的漂亮，也很结实。比较好笑的是，两场床戏里，Rooney的脸都是通通红的，而且都是一路红到耳根。想说，Rooney自称裸的都习惯了，这里还是害羞哈！
马上到来的各种award season，Carol其实不是传统的热门片类型。但是希望有好运！
总分5星还是必须的。但是从电影角度，给4星，还有一星是私心！
2 ) 《卡罗尔》原著——The Price of Salt《盐的代价》书摘及电影原声
等不到电影，只好先拿小说来解渴。
原著是以作者Patricia Highsmith自己的故事为原型的，她在快30岁时，在纽约Bloomingdale's百货公司的玩具区遇见了一位已婚妇女，并爱上了她。
原著虽是第三人称，但基本是以Therese的视角写的，内心描写很丰富，用词很美，不算艰涩，读起来很流畅，很抓人，不忍释卷。
读的过程中不断带入Cate和Rooney，因此十分有画面感，完全被带入到故事之中，许多描写太细腻，太真实，跟着Therese一起忐忑，也跟着她一起迷醉在Carol的冷漠与温情之间，这些文字，慢慢地在我脑海中拍成电影。
原著中Therese是一个stage designer，但在改编剧本中变成了一个photographer，其实我觉得这样反而更易于表达她作为Carol的暗恋者的角度。
Rooney和Cate绝对是Therese和Carol的不二人选，这点你看了小说就会明白这次的选角有多么完美。
书我还在读，读了大半了，书摘会陆续更，每晚都又期待故事，又不忍读完它，到了该睡的时间还是不情愿放下，不断安慰自己说“好东西值得等待”，才心不甘情不愿地关灯睡下。
即使读原著知道故事的始末，依然不会“剧透”电影，因为我真正期待的不只是故事本身，而是Rooney和Cate的演绎，服装，场景，Todd Haynes怎么营造1950s纽约的复古模样，以及代入感十足的黑胶唱片老歌，而这些都是文字之外的全新创造。
总之，北美上映都要到12月18，有资源的时候估计已经是2016了，只能先来感受原著了。
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附上非官方的原声，听吧，你会沉醉的。
http://pan.baidu.com/s/1bnfMneB
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以下为书摘，按阅读先后顺序
"How do you like it pronounced? Therese?"
"Yes. The way you do," she answered. Carol pronounced her name the French way, Terez. She was used to a dozen variations, and sometimes she herself pronounced it differently. She liked the way Carol pronounced it, and she liked her lips saying it. An indefinite longing, that she had been only vaguely conscious of at times before, became now a recognizable wish. It was so absurd, so embarrassing a desire, that
Therese thrust it from her mind.
----
Therese was propped on one elbow. The milk was so hot, she could barely let her lip touch it at first. The tiny sips spread inside her mouth and released a melange of organic flavors. The milk seemed to taste of bone and blood, of warm flesh, or hair, saltless as chalk yet alive as a growing embryo.
----
"There's a train in about four minutes," Carol said.
Therese blurted suddenly, "Will I see you again?"
Carol only smiled at her, a little reproachfully, as the window between them rose up. "Au revoir," she said.
Of course, of course, she would see her again, Therese thought. An idiotic question!
The car backed fast and turned away into the darkness.
----
But there was not a moment when she did not see Carol in her mind, and all she saw, she seemed to see through Carol. That evening, the dark flat streets of New York, the tomorrow of work, the milk bottle dropped and broken in her sink, became unimportant. She flung herself on her-bed and drew a line with a pencil on a piece of paper. And another line, carefully, and another. A world was born around her, like a bright forest with a million shimmering leaves.
----
They stopped for a red light, and Carol rolled the window up. Carol looked at her, as if really seeing her for the first time that evening, and under her eyes that went from her face to her hands in her lap, Therese felt like a puppy Carol had bought at a roadside kennel, that Carol had just remembered was riding beside her.
----
Happiness was a little like flying, she thought, like being a kite. It depended on how much one let the string out.
----
"Are you busy? If you are, I'll leave."
"No. Sit down. I'm not doing anything—except reading a play."
"What play?"
"A play I have to do sets for." She realized suddenly she had never mentioned stage designing to Carol.
"Sets for?"
"Yes—I'm a stage designer." She took Carol's coat.
Carol smiled astonishedly. "Why the hell didn't you tell me?" she asked quietly. "How many other rabbits are you going to pull out of your hat?"
----
And perhaps she was in love with Carol, too. It put Therese on guard with her. It created a tacit rivalry that gave her a curious exhilaration, a sense of certain superiority over Abby—emotions that Therese had never known before, never dared to dream of, emotions consequently revolutionary in themselves. So their lunching together in the restaurant became nearly as important as the meeting with Carol.
------
• Carol glanced at her. "You imagine," she said, and the pleasant vibration of her voice faded into silence again. The page she had written last night, Therese thought, had nothing to do with this Carol, was not addressed to her. I feel I am in love with you, she had written, and it should be spring. I want the sun throbbing on my head like chords of music. I think of a sun like Beethoven, a wind like Debussy, and birdcalls like Stravinsky. But the tempo is all mine.
• As if she wouldn't turn down a job on a ballet set to go away with Carol—to go with her through country she had never seen before, over rivers and mountains, not knowing where they would be when night came.
• Behind Carol, an airport searchlight made a pale sweep in the night, and disappeared. Carol's voice seemed to linger in the darkness. In its richer, happier tone, Therese could hear the depths within her where she loved Rindy, deeper than she would probably ever love anyone else.
• It shook Therese in the profoundest part of her where no words were, no easy words like death or dying or killing. Those words were somehow future, and this was present. An inarticulate anxiety, a desire to know, know anything, for certain, had jammed itself in her throat so for a moment she felt she could hardly breathe. Do you think, do you think, it began. Do you think both of us will die violently someday, be suddenly shut off? But even that question wasn't definite enough. Perhaps it was a statement after all: I don't want to die yet without knowing you. Do you feel the same way, Carol? She could have uttered the last question, but she could not have said all that went before it.
• "I suppose the first thing is not to be afraid." Therese turned and saw Carol's smile. "You're smiling because you think I am afraid, I suppose." "You're about as weak as this match." Carol held it burning for a moment after she lighted her cigarette. "But given the right conditions, you could burn a house down, couldn't you?" "Or a city." "But you're even afraid to take a little trip with me. You're afraid because you think you haven't got enough money." "That's not it." "You've got some very strange values, Therese. I asked you to go with me, because it would give me pleasure to have you. I should think it'd be good for you, too, and good for your work. But you've got to spoil it by a silly pride about money. Like that handbag you gave me. Out of all proportion. Why don't you take it back, if you need the money? I don't need the handbag. It gave you pleasure to give it to me, I suppose. It's the same thing, you see. Only I make sense and you don't." Carol walked by her and turned to her again, poised with one foot forward and her head up, the short blond hair as unobtrusive as a statue's hair. "Well, do you think it's funny?"
• Carol went into the green room, and stayed there while it played. Therese stood by the door of her room, listening, smiling. ... I'll never regret... the years I'm giving... They're easy to give, when you're in love... I'm happy to do whatever I do for you... That was her song. That was everything she felt about Carol.
• Was life, were human relations like this always, Therese wondered. Never solid ground underfoot. Always like gravel, a little yielding, noisy so the whole world could hear, so one always listened, too, for the loud, harsh step of the intruder's foot.
• Therese still felt the effects of what she had drunk, the tingling of the champagne that drew her painfully close to Carol. If she simply asked, she thought, Carol would let her sleep tonight in the same bed with her. She wanted more than that, to kiss her, to feel their bodies next to each other's. Therese thought of the two girls she had seen in the Palermo bar. They did that, she knew, and more. And would Carol suddenly thrust her away in disgust, if she merely wanted to hold her in her arms? And would whatever affection Carol now had for her vanish in that instant? A vision of Carol's cold rebuff swept her courage clean away. It crept back humbly in the question, couldn't she ask simply to sleep in the same bed with her?
• She rode up in an elevator and she was acutely conscious of Carol beside her, as if she dreamed a dream in which Carol was the subject and the only figure. In the room, she lifted her suitcase from the floor to a chair, unlatched it and left it, and stood by the writing table, watching Carol. As if her emotions had been in abeyance all the past hours, or days, they flooded her now as she watched Carol opening her suitcase, taking out, as she always did first, the leather kit that contained her toilet articles, dropping it onto the bed. She looked at Carol's hands, at the lock of hair that fell over the scarf tied around her head, at the scratch she had gotten days ago across the toe of her moccasin. "What're you standing there for?" Carol asked. "Get to bed, sleepyhead." "Carol, I love you." Carol straightened up. Therese stared at her with intense, sleepy eyes.
• Then Carol finished taking her pajamas from the suitcase and pulled the lid down. She came to Therese and put her hands on her shoulders. She squeezed her shoulders hard, as if she were exacting a promise from her, or perhaps searching her to see if what she had said were real. Then she kissed Therese on the lips, as if they had kissed a thousand times before. "Don't you know I love you?" Carol said.
• Then Therese set the container of milk on the floor and looked at Carol who was sleeping already, on her stomach, with one arm flung up as she always went to sleep. Therese pulled out the light. Then Carol slipped her arm under her neck, and all the length of their bodies touched, fitting as if something had prearranged it. Happiness was like a green vine spreading through her, stretching fine tendrils, bearing flowers through her flesh. She had a vision of a pale-white flower, shimmering as if seen in darkness, or through water. Why did people talk of heaven, she wondered.
• "Go to sleep," Carol said. Therese hoped she would not. But when she felt Carol's hand move on her shoulder, she knew she had been asleep. It was dawn now. Carol's fingers tightened in her hair, Carol kissed her on the lips, and pleasure leaped in Therese again as if it were only a continuation of the moment when Carol had slipped her arm under her neck last night. I love you, Therese wanted to say again, and then the words were erased by the tingling and terrifying pleasure that spread in waves from Carol's lips over her neck, her shoulders, that rushed suddenly, the length of her body. Her arms were tight around Carol, and she was conscious of Carol and nothing else, of Carol's hand that slid along her ribs, Carol's hair that brushed her bare breasts, and then her body too seemed to vanish in widening circles that leaped further and further, beyond where thought could follow. While a thousand memories and moments, words, the first darling, the second time Carol had met her at the store, a thousand memories of Carol's face, her voice, moments of anger and laughter flashed like the tail of a comet across her brain. And now it was pale-blue distance and space, an expanding space in which she took flight suddenly like a long arrow. The arrow seemed to cross an impossibly wide abyss with ease, seemed to arc on and on in space, and not quite to stop. Then she realized that she still clung to Carol, that she trembled violently, and the arrow was herself. She saw Carol's pale hair across her eyes, and now Carol's head was close against hers. And she did not have to ask if this were right, no one had to tell her, because this could not have been more right or perfect.
• "Go to sleep," Carol said. Therese hoped she would not. But when she felt Carol's hand move on her shoulder, she knew she had been asleep. It was dawn now. Carol's fingers tightened in her hair, Carol kissed her on the lips, and pleasure leaped in Therese again as if it were only a continuation of the moment when Carol had slipped her arm under her neck last night. I love you, Therese wanted to say again, and then the words were erased by the tingling and terrifying pleasure that spread in waves from Carol's lips over her neck, her shoulders, that rushed suddenly, the length of her body. Her arms were tight around Carol, and she was conscious of Carol and nothing else, of Carol's hand that slid along her ribs, Carol's hair that brushed her bare breasts, and then her body too seemed to vanish in widening circles that leaped further and further, beyond where thought could follow. While a thousand memories and moments, words, the first darling, the second time Carol had met her at the store, a thousand memories of Carol's face, her voice, moments of anger and laughter flashed like the tail of a comet across her brain. And now it was pale-blue distance and space, an expanding space in which she took flight suddenly like a long arrow. The arrow seemed to cross an impossibly wide abyss with ease, seemed to arc on and on in space, and not quite to stop. Then she realized that she still clung to Carol, that she trembled violently, and the arrow was herself. She saw Carol's pale hair across her eyes, and now Carol's head was close against hers. And she did not have to ask if this were right, no one had to tell her, because this could not have been more right or perfect. She held Carol tighter against her, and felt Carol's mouth on her own smiling mouth. Therese lay still, looking at her at Carol's face only inches away from her, the gray eyes calm as she had never seen them, as if they retained some of the space she had just emerged from. And it seemed strange that it was still Carol's face, with the freckles, the bending blond eyebrow that she knew, the mouth now as calm as her eyes, as Therese had seen it many times before.
• "My angel," Carol said. "Flung out of space." Therese looked up at the corners of the room that were much brighter now, at the bureau with the bulging front and the shield-shaped drawer pulls, at the frameless mirror with the beveled edge, at the green patterned curtains that hung straight at the windows, and the two gray tips of buildings that showed just above the sill. She would remember every detail of this room forever. "What town is this?" she asked. Carol laughed. "This? This is Waterloo." She reached for a cigarette. "Isn't that awful." Smiling, Therese raised up on her elbow. Carol put a cigarette between her lips. "There's a couple of Waterloos in every state," Therese said.
• Therese threw the newspapers on the bed and came to her. Carol seized her suddenly in her arms. They stood holding each other as if they would never separate. Therese shuddered, and there were tears in her eyes. It was hard to find words, locked in Carol's arms, closer than kissing. "Why did you wait so long?" Therese asked. "Because—I thought there wouldn't be a second time, that I wouldn't want it. But that's not true." Therese thought of Abby, and it was like a slim shaft of bitterness dropping between them. Carol released her. "And there was something else—to have you around reminding me, knowing you and knowing it would be so easy. I'm sorry. It wasn't fair to you." Therese set her teeth hard. She watched Carol walk slowly away across the room, watched the space widen, and remembered the first time she had seen her walk so slowly away in the department store, Therese had thought forever. Carol had loved Abby, too, and she reproached herself for it. As Carol would one day for loving her, Therese wondered? Therese understood now why the December and January weeks had been made up of anger and indecision, reprimands alternating with indulgences. But she understood now that whatever Carol said in words, there were no barriers and no indecisions now. There was no Abby, either, after this morning, whatever had happened between Carol and Abby before.
• "You've made me so happy ever since I've known you," Therese said. "I don't think you can judge." "I can judge this morning." Carol did not answer. Only the rasp of the door lock answered her. Carol had locked the door and they were alone. Therese came toward her, straight into her arms. "I love you," Therese said, just to hear the words. "I love you, I love you."
• She looked at Therese, and at last Therese saw a smile rising slowly in her eyes, bringing Carol with it. "I mean responsibilities in the world that other people live in and that might not be yours. Just now it isn't, and that's why in New York I was exactly the wrong person for you to know—because I indulge you and keep you from growing up." "Why don't you stop?" "I'll try. The trouble is, I like to indulge you." "You're exactly the right person for me to know," Therese said. "Am I?" On the street, Therese said, "I don't suppose Harge would like it if he knew we were away on a trip, either, would he?" "He's not going to know about it." "Do you still want to go to Washington?" "Absolutely, if you've got the time. Can you stay away all of February?" Therese nodded.
• "Do you mean that about not writing to him? That's your decision?" Carol asked.
• "Yes." Therese watched Carol knock the water out of her toothbrush, and turn from the basin, blotting her face with a towel. Nothing about Richard mattered so much to her as the way Carol blotted her face with a towel. "Let's say no more," Carol said. She knew Carol would say no more. She knew Carol had been pushing her toward him, until this moment. Now it seemed it might all have been for this moment as Carol turned and walked toward her and her heart took a giant's step forward.
• It was an evening Therese would never forget, and unlike most such evenings, this one registered as unforgettable while it still lived. It was a matter of the bag of popcorn they shared, the circus, and the kiss Carol gave her back of some booth in the performers' tent. It was a matter of that particular enchantment that came from Carol—though Carol took their good times so for granted—seemed to work on all the world around them, a matter of everything going perfectly, without disappointments or hitches, going just as they wished it to.
• "What's going to happen when we get back to New York? It can't be the same, can it?" "Yes," Carol said. "Till you get tired of me." Therese laughed. She heard the soft snap of Carol's scarf end in the wind. "We might not be living together, but it'll be the same." They couldn't live together with Rindy, Therese knew. It was useless to dream of it. But it was more than enough that Carol promised in words it would be the same.
• Carol picked up her wine glass and said, "Chateau Neuf-du-Pape in Nebraska. What'll we drink to?" "Us." It was something like the morning in Waterloo, Therese thought, a time too absolute and flawless to seem real, though it was real, not merely props in a play—their brandy glasses on the mantel, the row of deers' horns above, Carol's cigarette lighter, the fire itself. But at moments she felt like an actor, remembered only now and then her identity with a sense of surprise, as if she had been playing in these last days the part of someone else, someone fabulously and excessively lucky. She looked up at the fir branches fixed in the rafters, at the man and woman talking inaudibly together at a table against the wall, at the man alone at his table, smoking his cigarette slowly. She thought of the man sitting with the newspaper in the hotel in Waterloo. Didn't he have the same colorless eyes and the long creases on either side of his mouth? Or was it only that this moment of consciousness was so much the same as that other moment? They spent the night in Lusk, ninety miles away.
• Carol wanted her with her, and whatever happened they would meet it without running. How was it possible to be afraid and in love, Therese thought. The two things did not go together. How was it possible to be afraid, when the two of them grew stronger together every day? And every night. Every night was different, and every morning. Together they possessed a miracle.
• But there were other days when they drove out into the mountains alone, taking any road they saw. Once they came upon a little town they liked and spent the night there, without pajamas or toothbrushes, without past or future, and the night became another of those islands in time, suspended somewhere in the heart or in the memory, intact and absolute.
• Carol went into the bathroom arid turned on the shower. Therese came in after her. "I thought I was using this John." "I'm using it, but I'll let you come in." "Oh, thanks." Therese took off her robe as Carol did. "Well?" Carol said. "Well?" Therese stepped under the shower. "Of all the nerve." Carol got under it, too, and twisted Therese's arm behind her, but Therese only giggled. Therese wanted to embrace her, kiss her, but her free arm reached out convulsively and dragged Carol's head against her, under the stream of water, and there was the horrible sound of a foot slipping. "Stop it, we'll fall!" Carol shouted. "For Christ's sake, can't two people take a shower in peace?"
• Carol wanted to know everything she had done, how the roads were, and whether she had on the yellow pajamas or the blue ones. "I'll have a hard time getting to sleep tonight without you." "Yes." Immediately, out of nowhere, Therese felt tears pressing behind her eyes. "Can't you say anything but yes?" "I love you.
• "Carol does?" Dutch said, turning to her as he polished a lass. Then a strange resentment rose in Therese because he had said her name, and she made a resolution not to speak of Carol again at all, not to anyone in the city.
• She wrote to Carol late that night. The news is wonderful. I celebrated with a single daiquiri at the Warrior. Not that I am conservative, but did you know that one drink has the kick of three when you are alone?... I love this town because it all reminds me of you. I know you don't like it any more than any other town, but that isn't the point. I mean you are here as much as I can bear you to be, not being here...
• In the library, she looked at books with photographs of Europe in them, marble fountains in Sicily, ruins of Greece in sunlight, and she wondered if she and Carol would really ever go there. There was still so much they had not done. There was the first voyage across the Atlantic. There were simply the mornings, mornings anywhere, when she could lift her head from a pillow and see Carol's face, and know that the day was theirs and that nothing would separate them.
• They were happy weeks—you knew it more than I did. Though all we have known is only a beginning. I meant to try to tell you in this letter that you don't even know the rest and perhaps you never will and are not supposed to—meaning destined to. We never fought, never came back knowing there was nothing else we wanted in heaven or hell but to be together. Did you ever care for me that much, I don't know. But that is all part of it and all we have known is only a beginning. And it has been such a short time.
• You say you love me however I am and when I curse. I say I love you always, the person you are and the person you will become. I would say it in a court if it would mean anything to those people or possibly change anything, because those are not the words I am afraid of.
• And she remembered Carol saying, I like to see you walking. When I see you from a distance, I feel you're walking on the palm of my hand and you're about five inches high. She could hear Carol's soft voice under the babble of the wind, and she grew tense, with bitterness and fear. She walked faster, ran a few steps, as if she could run out of that morass of love and hate and resentment in which her mind suddenly floundered.
• Something Carol had said once came suddenly to her mind: every adult has secrets. Said as casually as Carol said everything, stamped as indelibly in her brain as the address she had written on the sales slip in Frankenberg's. She had an impulse to tell Dannie the rest, about the picture in the library, the picture in the school. And about the Carol who was not a picture, but a woman with a child and a husband, with freckles on her hands and a habit of cursing, of growing melancholy at unexpected moments, with a bad habit of indulging her will. A woman who had endured much more in New York than she had in South Dakota. She looked at Dannie's eyes, at his chin with the faint cleft. She knew that up to now she had been under a spell that prevented her from seeing anyone in the world but Carol.
• Once that had been impossible, and had been what she wanted most in the world. To live with her and share everything with her, summer and winter, to walk and read together, to travel together. And she remembered the days of resenting Carol, when she had imagined Carol asking her this, and herself answering no. "Would you?" Carol looked at her. Therese felt she balanced on a thin edge. The resentment was gone now. Nothing but the decision remained now, a thin line suspended in the air, with nothing on either side to push her or pull her. But on the one side, Carol, and on the other an empty question mark. On the one side, Carol, and it would be different now, because they were both different. It would be a world as unknown as the world just past had been when she first entered it. Only now, there were no obstacles. Therese thought of Carol's perfume that today meant nothing. A blank to be filled in, Carol would say.
• The lights were not bright, and she did not see her at first, half hidden in the shadow against the far wall, facing her. Nor did Carol see her. A man sat opposite her, Therese did not know who. Carol raised her hand slowly and brushed her hair back, once on either side, and Therese smiled because the gesture was Carol, and it was Carol she loved and would always love. Oh, in a different way now, because she was a different person, and it was like meeting Carol all over again, but it was still Carol and no one else. It would be Carol, in a thousand cities, a thousand houses, in foreign lands where they would go together, in heaven and in hell. Therese waited. Then as she was about to go to her Carol saw her, seemed to stare at her incredulously a moment while Therese watched the slow smile growing, before her arm lifted suddenly, her hand waved a quick, eager greeting that Therese had never seen before. Therese walked toward her. The End
-----已读完-------
原著是以作者Patricia Highsmith自己的故事为原型的，她在快30岁时，在纽约Bloomingdale's百货公司的玩具区遇见了一位已婚妇女，并爱上了她。
原著虽是第三人称，但基本是以Therese的视角写的，内心描写很丰富，用词很美，不算艰涩，读起来很流畅，很抓人，不忍释卷。
读的过程中不断带入Cate和Rooney，因此十分有画面感，完全被带入到故事之中，许多描写太细腻，太真实，跟着Therese一起忐忑，也跟着她一起迷醉在Carol的冷漠与温情之间，这些文字，慢慢地在我脑海中拍成电影。
原著中Therese是一个stage designer，但在改编剧本中变成了一个photographer，其实我觉得这样反而更易于表达她作为Carol的暗恋者的角度。
Rooney和Cate绝对是Therese和Carol的不二人选，这点你看了小说就会明白这次的选角有多么完美。
书我还在读，读了大半了，书摘会陆续更，每晚都又期待故事，又不忍读完它，到了该睡的时间还是不情愿放下，不断安慰自己说“好东西值得等待”，才心不甘情不愿地关灯睡下。
即使读原著知道故事的始末，依然不会“剧透”电影，因为我真正期待的不只是故事本身，而是Rooney和Cate的演绎，服装，场景，Todd Haynes怎么营造1950s纽约的复古模样，以及代入感十足的黑胶唱片老歌，而这些都是文字之外的全新创造。
总之，北美上映都要到12月18，有资源的时候估计已经是2016了，只能先来感受原著了。
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附上非官方的原声，听吧，你会沉醉的。
http://pan.baidu.com/s/1bnfMneB
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以下为书摘，按阅读先后顺序
"How do you like it pronounced? Therese?"
"Yes. The way you do," she answered. Carol pronounced her name the French way, Terez. She was used to a dozen variations, and sometimes she herself pronounced it differently. She liked the way Carol pronounced it, and she liked her lips saying it. An indefinite longing, that she had been only vaguely conscious of at times before, became now a recognizable wish. It was so absurd, so embarrassing a desire, that
Therese thrust it from her mind.
----
Therese was propped on one elbow. The milk was so hot, she could barely let her lip touch it at first. The tiny sips spread inside her mouth and released a melange of organic flavors. The milk seemed to taste of bone and blood, of warm flesh, or hair, saltless as chalk yet alive as a growing embryo.
----
"There's a train in about four minutes," Carol said.
Therese blurted suddenly, "Will I see you again?"
Carol only smiled at her, a little reproachfully, as the window between them rose up. "Au revoir," she said.
Of course, of course, she would see her again, Therese thought. An idiotic question!
The car backed fast and turned away into the darkness.
----
But there was not a moment when she did not see Carol in her mind, and all she saw, she seemed to see through Carol. That evening, the dark flat streets of New York, the tomorrow of work, the milk bottle dropped and broken in her sink, became unimportant. She flung herself on her-bed and drew a line with a pencil on a piece of paper. And another line, carefully, and another. A world was born around her, like a bright forest with a million shimmering leaves.
----
They stopped for a red light, and Carol rolled the window up. Carol looked at her, as if really seeing her for the first time that evening, and under her eyes that went from her face to her hands in her lap, Therese felt like a puppy Carol had bought at a roadside kennel, that Carol had just remembered was riding beside her.
----
Happiness was a little like flying, she thought, like being a kite. It depended on how much one let the string out.
----
"Are you busy? If you are, I'll leave."
"No. Sit down. I'm not doing anything—except reading a play."
"What play?"
"A play I have to do sets for." She realized suddenly she had never mentioned stage designing to Carol.
"Sets for?"
"Yes—I'm a stage designer." She took Carol's coat.
Carol smiled astonishedly. "Why the hell didn't you tell me?" she asked quietly. "How many other rabbits are you going to pull out of your hat?"
----
And perhaps she was in love with Carol, too. It put Therese on guard with her. It created a tacit rivalry that gave her a curious exhilaration, a sense of certain superiority over Abby—emotions that Therese had never known before, never dared to dream of, emotions consequently revolutionary in themselves. So their lunching together in the restaurant became nearly as important as the meeting with Carol.
------
• Carol glanced at her. "You imagine," she said, and the pleasant vibration of her voice faded into silence again. The page she had written last night, Therese thought, had nothing to do with this Carol, was not addressed to her. I feel I am in love with you, she had written, and it should be spring. I want the sun throbbing on my head like chords of music. I think of a sun like Beethoven, a wind like Debussy, and birdcalls like Stravinsky. But the tempo is all mine.
• As if she wouldn't turn down a job on a ballet set to go away with Carol—to go with her through country she had never seen before, over rivers and mountains, not knowing where they would be when night came.
• Behind Carol, an airport searchlight made a pale sweep in the night, and disappeared. Carol's voice seemed to linger in the darkness. In its richer, happier tone, Therese could hear the depths within her where she loved Rindy, deeper than she would probably ever love anyone else.
• It shook Therese in the profoundest part of her where no words were, no easy words like death or dying or killing. Those words were somehow future, and this was present. An inarticulate anxiety, a desire to know, know anything, for certain, had jammed itself in her throat so for a moment she felt she could hardly breathe. Do you think, do you think, it began. Do you think both of us will die violently someday, be suddenly shut off? But even that question wasn't definite enough. Perhaps it was a statement after all: I don't want to die yet without knowing you. Do you feel the same way, Carol? She could have uttered the last question, but she could not have said all that went before it.
• "I suppose the first thing is not to be afraid." Therese turned and saw Carol's smile. "You're smiling because you think I am afraid, I suppose." "You're about as weak as this match." Carol held it burning for a moment after she lighted her cigarette. "But given the right conditions, you could burn a house down, couldn't you?" "Or a city." "But you're even afraid to take a little trip with me. You're afraid because you think you haven't got enough money." "That's not it." "You've got some very strange values, Therese. I asked you to go with me, because it would give me pleasure to have you. I should think it'd be good for you, too, and good for your work. But you've got to spoil it by a silly pride about money. Like that handbag you gave me. Out of all proportion. Why don't you take it back, if you need the money? I don't need the handbag. It gave you pleasure to give it to me, I suppose. It's the same thing, you see. Only I make sense and you don't." Carol walked by her and turned to her again, poised with one foot forward and her head up, the short blond hair as unobtrusive as a statue's hair. "Well, do you think it's funny?"
• Carol went into the green room, and stayed there while it played. Therese stood by the door of her room, listening, smiling. ... I'll never regret... the years I'm giving... They're easy to give, when you're in love... I'm happy to do whatever I do for you... That was her song. That was everything she felt about Carol.
• Was life, were human relations like this always, Therese wondered. Never solid ground underfoot. Always like gravel, a little yielding, noisy so the whole world could hear, so one always listened, too, for the loud, harsh step of the intruder's foot.
• Therese still felt the effects of what she had drunk, the tingling of the champagne that drew her painfully close to Carol. If she simply asked, she thought, Carol would let her sleep tonight in the same bed with her. She wanted more than that, to kiss her, to feel their bodies next to each other's. Therese thought of the two girls she had seen in the Palermo bar. They did that, she knew, and more. And would Carol suddenly thrust her away in disgust, if she merely wanted to hold her in her arms? And would whatever affection Carol now had for her vanish in that instant? A vision of Carol's cold rebuff swept her courage clean away. It crept back humbly in the question, couldn't she ask simply to sleep in the same bed with her?
• She rode up in an elevator and she was acutely conscious of Carol beside her, as if she dreamed a dream in which Carol was the subject and the only figure. In the room, she lifted her suitcase from the floor to a chair, unlatched it and left it, and stood by the writing table, watching Carol. As if her emotions had been in abeyance all the past hours, or days, they flooded her now as she watched Carol opening her suitcase, taking out, as she always did first, the leather kit that contained her toilet articles, dropping it onto the bed. She looked at Carol's hands, at the lock of hair that fell over the scarf tied around her head, at the scratch she had gotten days ago across the toe of her moccasin. "What're you standing there for?" Carol asked. "Get to bed, sleepyhead." "Carol, I love you." Carol straightened up. Therese stared at her with intense, sleepy eyes.
• Then Carol finished taking her pajamas from the suitcase and pulled the lid down. She came to Therese and put her hands on her shoulders. She squeezed her shoulders hard, as if she were exacting a promise from her, or perhaps searching her to see if what she had said were real. Then she kissed Therese on the lips, as if they had kissed a thousand times before. "Don't you know I love you?" Carol said.
• Then Therese set the container of milk on the floor and looked at Carol who was sleeping already, on her stomach, with one arm flung up as she always went to sleep. Therese pulled out the light. Then Carol slipped her arm under her neck, and all the length of their bodies touched, fitting as if something had prearranged it. Happiness was like a green vine spreading through her, stretching fine tendrils, bearing flowers through her flesh. She had a vision of a pale-white flower, shimmering as if seen in darkness, or through water. Why did people talk of heaven, she wondered.
• "Go to sleep," Carol said. Therese hoped she would not. But when she felt Carol's hand move on her shoulder, she knew she had been asleep. It was dawn now. Carol's fingers tightened in her hair, Carol kissed her on the lips, and pleasure leaped in Therese again as if it were only a continuation of the moment when Carol had slipped her arm under her neck last night. I love you, Therese wanted to say again, and then the words were erased by the tingling and terrifying pleasure that spread in waves from Carol's lips over her neck, her shoulders, that rushed suddenly, the length of her body. Her arms were tight around Carol, and she was conscious of Carol and nothing else, of Carol's hand that slid along her ribs, Carol's hair that brushed her bare breasts, and then her body too seemed to vanish in widening circles that leaped further and further, beyond where thought could follow. While a thousand memories and moments, words, the first darling, the second time Carol had met her at the store, a thousand memories of Carol's face, her voice, moments of anger and laughter flashed like the tail of a comet across her brain. And now it was pale-blue distance and space, an expanding space in which she took flight suddenly like a long arrow. The arrow seemed to cross an impossibly wide abyss with ease, seemed to arc on and on in space, and not quite to stop. Then she realized that she still clung to Carol, that she trembled violently, and the arrow was herself. She saw Carol's pale hair across her eyes, and now Carol's head was close against hers. And she did not have to ask if this were right, no one had to tell her, because this could not have been more right or perfect.
• "Go to sleep," Carol said. Therese hoped she would not. But when she felt Carol's hand move on her shoulder, she knew she had been asleep. It was dawn now. Carol's fingers tightened in her hair, Carol kissed her on the lips, and pleasure leaped in Therese again as if it were only a continuation of the moment when Carol had slipped her arm under her neck last night. I love you, Therese wanted to say again, and then the words were erased by the tingling and terrifying pleasure that spread in waves from Carol's lips over her neck, her shoulders, that rushed suddenly, the length of her body. Her arms were tight around Carol, and she was conscious of Carol and nothing else, of Carol's hand that slid along her ribs, Carol's hair that brushed her bare breasts, and then her body too seemed to vanish in widening circles that leaped further and further, beyond where thought could follow. While a thousand memories and moments, words, the first darling, the second time Carol had met her at the store, a thousand memories of Carol's face, her voice, moments of anger and laughter flashed like the tail of a comet across her brain. And now it was pale-blue distance and space, an expanding space in which she took flight suddenly like a long arrow. The arrow seemed to cross an impossibly wide abyss with ease, seemed to arc on and on in space, and not quite to stop. Then she realized that she still clung to Carol, that she trembled violently, and the arrow was herself. She saw Carol's pale hair across her eyes, and now Carol's head was close against hers. And she did not have to ask if this were right, no one had to tell her, because this could not have been more right or perfect. She held Carol tighter against her, and felt Carol's mouth on her own smiling mouth. Therese lay still, looking at her at Carol's face only inches away from her, the gray eyes calm as she had never seen them, as if they retained some of the space she had just emerged from. And it seemed strange that it was still Carol's face, with the freckles, the bending blond eyebrow that she knew, the mouth now as calm as her eyes, as Therese had seen it many times before.
• "My angel," Carol said. "Flung out of space." Therese looked up at the corners of the room that were much brighter now, at the bureau with the bulging front and the shield-shaped drawer pulls, at the frameless mirror with the beveled edge, at the green patterned curtains that hung straight at the windows, and the two gray tips of buildings that showed just above the sill. She would remember every detail of this room forever. "What town is this?" she asked. Carol laughed. "This? This is Waterloo." She reached for a cigarette. "Isn't that awful." Smiling, Therese raised up on her elbow. Carol put a cigarette between her lips. "There's a couple of Waterloos in every state," Therese said.
• Therese threw the newspapers on the bed and came to her. Carol seized her suddenly in her arms. They stood holding each other as if they would never separate. Therese shuddered, and there were tears in her eyes. It was hard to find words, locked in Carol's arms, closer than kissing. "Why did you wait so long?" Therese asked. "Because—I thought there wouldn't be a second time, that I wouldn't want it. But that's not true." Therese thought of Abby, and it was like a slim shaft of bitterness dropping between them. Carol released her. "And there was something else—to have you around reminding me, knowing you and knowing it would be so easy. I'm sorry. It wasn't fair to you." Therese set her teeth hard. She watched Carol walk slowly away across the room, watched the space widen, and remembered the first time she had seen her walk so slowly away in the department store, Therese had thought forever. Carol had loved Abby, too, and she reproached herself for it. As Carol would one day for loving her, Therese wondered? Therese understood now why the December and January weeks had been made up of anger and indecision, reprimands alternating with indulgences. But she understood now that whatever Carol said in words, there were no barriers and no indecisions now. There was no Abby, either, after this morning, whatever had happened between Carol and Abby before.
• "You've made me so happy ever since I've known you," Therese said. "I don't think you can judge." "I can judge this morning." Carol did not answer. Only the rasp of the door lock answered her. Carol had locked the door and they were alone. Therese came toward her, straight into her arms. "I love you," Therese said, just to hear the words. "I love you, I love you."
• She looked at Therese, and at last Therese saw a smile rising slowly in her eyes, bringing Carol with it. "I mean responsibilities in the world that other people live in and that might not be yours. Just now it isn't, and that's why in New York I was exactly the wrong person for you to know—because I indulge you and keep you from growing up." "Why don't you stop?" "I'll try. The trouble is, I like to indulge you." "You're exactly the right person for me to know," Therese said. "Am I?" On the street, Therese said, "I don't suppose Harge would like it if he knew we were away on a trip, either, would he?" "He's not going to know about it." "Do you still want to go to Washington?" "Absolutely, if you've got the time. Can you stay away all of February?" Therese nodded.
• "Do you mean that about not writing to him? That's your decision?" Carol asked.
• "Yes." Therese watched Carol knock the water out of her toothbrush, and turn from the basin, blotting her face with a towel. Nothing about Richard mattered so much to her as the way Carol blotted her face with a towel. "Let's say no more," Carol said. She knew Carol would say no more. She knew Carol had been pushing her toward him, until this moment. Now it seemed it might all have been for this moment as Carol turned and walked toward her and her heart took a giant's step forward.
• It was an evening Therese would never forget, and unlike most such evenings, this one registered as unforgettable while it still lived. It was a matter of the bag of popcorn they shared, the circus, and the kiss Carol gave her back of some booth in the performers' tent. It was a matter of that particular enchantment that came from Carol—though Carol took their good times so for granted—seemed to work on all the world around them, a matter of everything going perfectly, without disappointments or hitches, going just as they wished it to.
• "What's going to happen when we get back to New York? It can't be the same, can it?" "Yes," Carol said. "Till you get tired of me." Therese laughed. She heard the soft snap of Carol's scarf end in the wind. "We might not be living together, but it'll be the same." They couldn't live together with Rindy, Therese knew. It was useless to dream of it. But it was more than enough that Carol promised in words it would be the same.
• Carol picked up her wine glass and said, "Chateau Neuf-du-Pape in Nebraska. What'll we drink to?" "Us." It was something like the morning in Waterloo, Therese thought, a time too absolute and flawless to seem real, though it was real, not merely props in a play—their brandy glasses on the mantel, the row of deers' horns above, Carol's cigarette lighter, the fire itself. But at moments she felt like an actor, remembered only now and then her identity with a sense of surprise, as if she had been playing in these last days the part of someone else, someone fabulously and excessively lucky. She looked up at the fir branches fixed in the rafters, at the man and woman talking inaudibly together at a table against the wall, at the man alone at his table, smoking his cigarette slowly. She thought of the man sitting with the newspaper in the hotel in Waterloo. Didn't he have the same colorless eyes and the long creases on either side of his mouth? Or was it only that this moment of consciousness was so much the same as that other moment? They spent the night in Lusk, ninety miles away.
• Carol wanted her with her, and whatever happened they would meet it without running. How was it possible to be afraid and in love, Therese thought. The two things did not go together. How was it possible to be afraid, when the two of them grew stronger together every day? And every night. Every night was different, and every morning. Together they possessed a miracle.
• But there were other days when they drove out into the mountains alone, taking any road they saw. Once they came upon a little town they liked and spent the night there, without pajamas or toothbrushes, without past or future, and the night became another of those islands in time, suspended somewhere in the heart or in the memory, intact and absolute.
• Carol went into the bathroom arid turned on the shower. Therese came in after her. "I thought I was using this John." "I'm using it, but I'll let you come in." "Oh, thanks." Therese took off her robe as Carol did. "Well?" Carol said. "Well?" Therese stepped under the shower. "Of all the nerve." Carol got under it, too, and twisted Therese's arm behind her, but Therese only giggled. Therese wanted to embrace her, kiss her, but her free arm reached out convulsively and dragged Carol's head against her, under the stream of water, and there was the horrible sound of a foot slipping. "Stop it, we'll fall!" Carol shouted. "For Christ's sake, can't two people take a shower in peace?"
• Carol wanted to know everything she had done, how the roads were, and whether she had on the yellow pajamas or the blue ones. "I'll have a hard time getting to sleep tonight without you." "Yes." Immediately, out of nowhere, Therese felt tears pressing behind her eyes. "Can't you say anything but yes?" "I love you.
• "Carol does?" Dutch said, turning to her as he polished a lass. Then a strange resentment rose in Therese because he had said her name, and she made a resolution not to speak of Carol again at all, not to anyone in the city.
• She wrote to Carol late that night. The news is wonderful. I celebrated with a single daiquiri at the Warrior. Not that I am conservative, but did you know that one drink has the kick of three when you are alone?... I love this town because it all reminds me of you. I know you don't like it any more than any other town, but that isn't the point. I mean you are here as much as I can bear you to be, not being here...
• In the library, she looked at books with photographs of Europe in them, marble fountains in Sicily, ruins of Greece in sunlight, and she wondered if she and Carol would really ever go there. There was still so much they had not done. There was the first voyage across the Atlantic. There were simply the mornings, mornings anywhere, when she could lift her head from a pillow and see Carol's face, and know that the day was theirs and that nothing would separate them.
• They were happy weeks—you knew it more than I did. Though all we have known is only a beginning. I meant to try to tell you in this letter that you don't even know the rest and perhaps you never will and are not supposed to—meaning destined to. We never fought, never came back knowing there was nothing else we wanted in heaven or hell but to be together. Did you ever care for me that much, I don't know. But that is all part of it and all we have known is only a beginning. And it has been such a short time.
• You say you love me however I am and when I curse. I say I love you always, the person you are and the person you will become. I would say it in a court if it would mean anything to those people or possibly change anything, because those are not the words I am afraid of.
• And she remembered Carol saying, I like to see you walking. When I see you from a distance, I feel you're walking on the palm of my hand and you're about five inches high. She could hear Carol's soft voice under the babble of the wind, and she grew tense, with bitterness and fear. She walked faster, ran a few steps, as if she could run out of that morass of love and hate and resentment in which her mind suddenly floundered.
• Something Carol had said once came suddenly to her mind: every adult has secrets. Said as casually as Carol said everything, stamped as indelibly in her brain as the address she had written on the sales slip in Frankenberg's. She had an impulse to tell Dannie the rest, about the picture in the library, the picture in the school. And about the Carol who was not a picture, but a woman with a child and a husband, with freckles on her hands and a habit of cursing, of growing melancholy at unexpected moments, with a bad habit of indulging her will. A woman who had endured much more in New York than she had in South Dakota. She looked at Dannie's eyes, at his chin with the faint cleft. She knew that up to now she had been under a spell that prevented her from seeing anyone in the world but Carol.
• Once that had been impossible, and had been what she wanted most in the world. To live with her and share everything with her, summer and winter, to walk and read together, to travel together. And she remembered the days of resenting Carol, when she had imagined Carol asking her this, and herself answering no. "Would you?" Carol looked at her. Therese felt she balanced on a thin edge. The resentment was gone now. Nothing but the decision remained now, a thin line suspended in the air, with nothing on either side to push her or pull her. But on the one side, Carol, and on the other an empty question mark. On the one side, Carol, and it would be different now, because they were both different. It would be a world as unknown as the world just past had been when she first entered it. Only now, there were no obstacles. Therese thought of Carol's perfume that today meant nothing. A blank to be filled in, Carol would say.
• The lights were not bright, and she did not see her at first, half hidden in the shadow against the far wall, facing her. Nor did Carol see her. A man sat opposite her, Therese did not know who. Carol raised her hand slowly and brushed her hair back, once on either side, and Therese smiled because the gesture was Carol, and it was Carol she loved and would always love. Oh, in a different way now, because she was a different person, and it was like meeting Carol all over again, but it was still Carol and no one else. It would be Carol, in a thousand cities, a thousand houses, in foreign lands where they would go together, in heaven and in hell. Therese waited. Then as she was about to go to her Carol saw her, seemed to stare at her incredulously a moment while Therese watched the slow smile growing, before her arm lifted suddenly, her hand waved a quick, eager greeting that Therese had never seen before. Therese walked toward her. The End
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3 ) FLUNG OUT OF SPACE 纪念我的疯狂。
在参加了一场Carol的映后discussion后，为了这半个多月来看的七次Carol，决定写一遍长篇的分析来纪念我的疯狂。 从十一月二十七号Carol在英国直接进入全面院线上映以来，在Curzon看了第一场以后就一直像着了魔一样的在谢菲尔德每一家上这部电影的电影院都看了， 当然也跟我确实是办了很多家会员卡所以很便宜有关啦。 观影效果最好还是Curzon，银幕大厅小，设备新颜色正，相比起来Cineworld的颜色有点灰，我不觉得那个是Todd想要的效果。Anyway, 总的来说就是会从电影的剧情，人物关系，摄影，剪辑，音效/音乐，主创采访来记录一下Carol这样一部注定成为经典的电影。 人物关系 Carol 和Harge Harge第一次出场是在邮局送信的同时， 注意到他从不自己开车，都是司机接送， 下车时说了一句， Won’t take too long. 可以感觉到这个人是一个很有自信的人， 好像一切都在他的掌控之中。 Carol看到Harge第一反应是， 你来早了。到后面Harge不按说好的把Rindy提前接走也是，显然这些事经常发生让Carol很不爽。最能表明Carol对Harge的态度的一句话在Harge让Carol和他一起去参加Jeanette的party时用的是someone’s wife， Carol马上纠正说，是Jeanette. 就这一句话就能说明为什么Carol和Harge要离婚。所有两人出现在一起的场景，Harge对Carol说话永远都是，I don’t like you干什么干什么，I would like you to 干什么干什么， 其次就是他提出的大多数要求都是Mother’s idea. 那么Caro对Harge 到底爱不爱呢?书里Carol是这么说的， 到了那个年纪，好像该结婚了。电影里也对Therese说她用的香水是Harge结婚之前送的，之后就都一直用这款了。 所以，在某一刻至少结婚时， Carol肯定是爱过Harge的， 至少很喜欢他，觉得能和他生活， 但事实证明是Carol Handle 不了这种only be someone’s wife的感觉。不过这也是那个年代的男人对待女人的一种方式， Carol很不喜欢， Jeanette说她丈夫不喜欢她抽烟， Carol的回答是，“So? you like it.” 另外不可否认的是，Harge对Carol的爱，包括要把Rindy从Carol身边带走都是带着让Carol打消离婚的念头的，这个人控制欲太强，家里的管家肯定经常给他打小报告说Carol又和Abby在一起了，他是能感觉到的， 但是就像他对Abby说，“I love her” 。Abby的回答: “ I can’t help you with that.” Harge当然爱Carol了，谁能不爱，只是你爱不起。 Carol 和Abby 书里Abby第一次出现是在Carol的房间， 是以照片的形式， 足见Abby对Carol有多重要， 书里是她们俩从4岁就认识了， 电影里改成了10岁。电影里第一次出现是Harge说Carol总和Abby在一起， Abby是俩人离婚的原因之一，Carol对Abby的依赖是就算取消了和她的约会也还是要她开车送她去和Harge一起参加party，足见两人有多好。显然两个人还是爱着对方，Abby虽然说Then it changed, it changes。 Abby还是对Carol最重要的人， 就算是遇到Therese以后也仍然是。 Therese 和 Richard Richard其实和Harge很像，他觉得自己很爱Therese, 想娶她，但就是有一种我他妈都让你嫁给我了，你居然不感动？ Therese对Richard不管是在书里还是在电影里都是没有爱的，不爱他，但不讨厌他，觉得Richard对她的好让她压力很大，很烦他，但是又不知道到底要怎么办。尤其是讨论Love的那一段，对Richard说爱她的反应，是厌恶和不解，那里麻辣真的是演得很好，归功于天生一张嫌弃脸。Never in love, until you. 挺能让人感动的话， 但Therese听着就是不爽。书里是Therese和Richard上过两次床，但都不是很愉悦，电影里是表示没有过，either way，Therese 对Richard的感情仅限于不讨厌，但大部分时候很烦他。如果没有Carol的出现，或者Therese是个宇直，那也不会和Richard走下去，可能和Dannie的可能性都能更多。简单的说，不爱你，你做什么都是错的。 Therese 和 Dannie, Phil Therese喜欢这两个人一定比Richard多，和这两个人相处不让她有那么大的压力， 首先，和Phil, Phil帮她修相机，给她推荐工作，speak highly of her，但是都是出于朋友情谊。然后和Dannie, Dannie在电影里出场的几次都很重要，可以说直接影响了Therese看清自己对Carol是爱。Dannie带她看工作室，介绍她进Times工作，告诉她应该be more interested in human, “ We all like certain people, you like certain people right? And others you don’t. And you don’t really know why you’re attracted to some people and not others, the only thing you know is you either are attracted or you’re not. It’s like physics，bouncing off each other like pin balls”. 然后Dannie亲了Therese, 几乎能想象就是这一刻，Therese wish it was Carol. Therese 和 Abby 这两个人怎么说呢？不能说是情敌吧，但都是爱着Carol, 书里其实有几处小暗示是Therese和Abby很像，都是深发色，都爱吹冷风，都爱Carol. 但两人是互相不喜欢的，Abby在书里约过Therese吃饭，免不了俗套就是不希望Carol受伤害之类的话，对Therese说 You win。Therese对Abby是有些怕有些嫉妒的。相比起来电影处理的更好，减少了很多Therese和Abby的冲突，电影里的Abby是更希望Carol能够幸福，也很关心Therese. 但年轻气盛的Therese还是几乎没有给Abby什么好脸看，还问她为什么恨她。其实就Therese对Abby的态度来说，她们俩是真的很像，Abby对待Harge的态度也是这么强硬，也许Carol觉得Therese还是有点像Abby的， 毕竟we all like certain people. Therese 和 Harge 这俩人在电影里就见过一次面，很让我感到奇妙的是，当Carol和Harge在窗外吵架时，Therese在屋里放大了音乐声，并且还给了特写，Therese不想介入Carol的婚姻矛盾，不想听到，可能就是根本想忽略Harge这个人也不一定。书里还有Therese问Carol关于Harge的问题，电影里就只有一句Harge是你丈夫吗？反而的Therese更在乎Carol和Abby 的关系。Harge在看到Therese和Carol在家很生气的问Therese是怎么认识他老婆的然后第二天就提交了sole custody, because of morality clause。 Carol 和 Therese Carol和Therese好像有很多能写，但是又不知道怎么写起。对于这两个人，我真的觉得电影改编的很好，就像Cate说电影让Carol活的立体了，而不是像书里面是活在Therese的想象里。书里Therese每次看到想到Carol时的内心活动都很多，麻辣真的演的很好，真的能感受到Therese对Carol的那种迷恋。但更想先说一下在就电影里展现的Carol对Therese的情感，Carol第一眼看到Therese是站在柜台后，她看到Therese盯着她看的时候或多或少的一定有想起19岁时的Abby, 所以她才选择走过去和Therese说话，然后一步一步的，领着Therese进入她的世界，Carol看似胸有成竹的，但是在吃饭时问Therese要不要周日去她家的紧张，以及那句著名的Flung out of space都能看出Carol没有她表现的那么自信，甚至会在看到Therese小时候的照片后坐在沙发上哭起来，当然大部分是因为她女儿的原因，但也是因为Abby说 she’ s young. Carol给Therese的分手信尤其展现她在这方面的不自信， 她说Therese seek resolutions and explanations because she’s young. 唯一能做的就是 release Therese. 她很自信的是觉得不再和Therese联系，挂断Therese的电话， 回去接受心理辅导，这一切做了她还能过得很好，能赢回女儿的监护权， 但是就坐在出租车的看到Therese路过的那一瞬间，全都白费了，Carol看到Therese的那一刻她笑了，然后决定放弃女儿的监护权要和Therese在一起。还能说什么呢？她内心觉得自己是Therese年轻时候要寻找的resolutions and explanations，但还是放弃一切想要和Therese在一起， 所以，有些人觉得Carol对Therese太胸有成竹了，我并不这么想。Therese对Carol的感情在书里铺垫的很好，但是因为书里是主要在以Therese的视角描写，电影里就更直接了当了，Therese看到Carol的第一眼就沦陷了，都不知道默默的开了多少自己和Carol的脑洞，比如书里说两个人开车进隧道的时候，Therese希望两个人就这样死在这，就能永远在一起了（这一部分的蒙太奇做的太好了）。读完Carol的分手信回到家，Therese就开始洗照片，全是Carol, 然后鼓起勇气给Carol打电话在被挂了以后说了两遍I Miss You以后感觉在很努力的move on, 开始在Times上班，穿衣做事都越来与像Carol,但不如说是像Abby更多一点，电影里处理的最好的就是把Therese最后去参加的那场Party和Carol的刚开头参加的那场Party作对比，同样是冷眼看着所有人，同样是自己溜到一边去抽烟然后和人说话，最后剩自己一个人在窗户边抽烟然后开始思考下一步该怎么做，Carol决定Get away for a while, 可能那个时候就想和让Therese和她一起走了，Therese的决定是去找Carol，不要move on. 其实还有好多能写的，但是觉得关于他们电影里表达的非常直白，Carol在车里放的那首You belong to me, 和这首Therese在店里给Carol买礼物时的背景乐简直就是Therese的内心写照。 I can't resist you, what good is there in trying What good is there denying you're all that I desire Since first I kissed you my heart was yours completely If I'm a slave, then it's a slave I want to be。 （ GEORGIA GIBBS "Kiss Of Fire”） 摄影 Carol 这部电影这么美，Ed Lachman的功劳真的很大，也提了好多奖拿了好多奖了。 Super 16 mm的整个颗粒感在Curzon的屏幕上真的是太有感觉了，从开场的下水道盖镜头往上跟着Jack一直走进Carol约Therese见面的地方，第一个感觉就是，有点贵。基本上整部片子的大部分镜头都是跟，就跟着演员，不切镜头。 但只有Carol和Therese说话的时候是用了大特写，两个人分别和其他人讲话的时候，最多也就是近景。 所以说这部电影就是在每一个方面都很直白， Carol和Therese一起出现的唯一没有用大特的场景就是Carol最后一次约Therese吃饭的那一场，所以马上就制造出两个人之间的隔阂，就有了和对方远一些了的感觉。最大的特点还有就是拍倒影，两个人在车里，除开大特写就是从窗户拍，窗户上印着路边的树的倒影加上两个人的脸，有点太美丽。 Carol去check out, Therese 在火车上哭，Therese和Abby吃饭，两个人在party上抽烟，都是拍窗户的倒影，或者从窗外拍，然后就大光圈，大光斑，整个气氛营造的特别好，不是像那种，看啊，我这个镜头多特别多创新，而是看的时候都不会想到说很仔细的去想这个镜头为什么要这么用，很自然把人往里带入。 不知道昆丁的新片70mm到底有多屌，或者The revenant的场面有多宏大，在我心里如果都提了奥斯卡，不管结果怎么样，Carol的摄影都赢了，没有大场面的都是小细节，拍的每一帧都能让人好像置身其中，而不是宏大场面的风景画。 剪辑 Todd 从Mildred Pierce 开始和Affonso Gonçalves合作，也让Todd的作品不让天鹅绒金矿和I’m not there形式感那么重了，也就是主流了，我感觉。不过就Carol来说，用这种主流的剪辑方式绝对是对的，如果玩形式那整个感觉就都不对了。Todd在采访里说最爱的就是对隧道那一段蒙太奇的处理，那一段确实是很惊艳，尤其是加入的那一帧Therese开场时在出租车的样子，太大胆了，谁敢这么玩？（蓝宇，哈哈，不知道是不是从蓝宇取经了）当然这也就不知道到底是导演还是剪辑的意思了。 其实剪辑没什么好说的，剪辑和摄影真是相爱相杀，摄影做的太好，长镜头用的好，真的就没什么剪辑能发挥的空间，唯一能玩的也就是拍的两人的大特写，在这种情况下，能把隧道那段做的那么精致，也是赢了。 音效/音乐 Carter Burwell 也是从 Mildred Pierce 开始和Todd合作的。 Carol的音乐已经到了洗脑的地步，基本上看完脑子里就一直回想着， 也拿了好多原声奖了，没什么好说的。音效会显得弱一些， 和剪辑一样，音乐做的太好了，没什么空间去做任何音效，就规规矩矩的就行，因为大部分时间都在被背景音乐洗脑着。 主创采访 其实主创的采访在不同的场合回答的问题和答案都差不多。总结一下就是，12年前Carol就是一个电影项目了，Phyllis Nagy把小说改编成了剧本，但是没资金，没投资，没市场，后来Cate加入这个项目（虽然还有很多很复杂的各种制片人了之类的，导演也跑了），Cate把这个项目介绍给Todd，然后麻辣长大了，duang，大家决定开开心心的拍起来了。 对这个电影所有主创人员的一致口径都是，这是第一部最后两个lesbian没有自杀或者一个人变直的小说啦，blabla... 最有价值的还是Cate说的电影把Carol从Therese的想象中拿出来，给了一个非常完整的故事线，麻辣说chemistry不是你能创造的，有就有没有就是没有。比较让我印象深刻的访问是在伦敦电影节上的记者发布会，制片人Elizabeth Karlsen说，很可惜这部电影在俄罗斯和中国这一类的地方不能发行。这部电影的历史意义就在此了，Carol拿的奖赚的钱越多，就越能改变未来的电影市场，这样才有越来越多的人愿意来为这类电影投钱，这也是Cate加入这个项目的原因。Pillow talk 前几天不是说，终于有好的lesbian film了，不知道怎么react嘛，well, there will be more.
4 ) 爱情自会找到它来时的路
严重剧透。
上个月在纽约电影节看了《卡罗尔》，至今无法从那种情绪中抽离出来，每每想到其中几个情节，就惆怅不已。
主演大家都知道了，Cate Blanchett和Rooney Mara。戛纳电影节的时候就被炒得火热，Rooney Mara还凭此拿了金棕榈最佳女演员奖。
片子是讲同性爱情的，人物设置和《蓝宇》有些非常相似：两个年龄、阅历、财富都不在一个段位上的人相遇，擦出火花，然后相爱，分离。当然了，大的那个，世俗牵绊总是多些，小的那个，眼神更让人心疼，也更深情些，仿佛就是为了告诉人们：爱情真他妈的是不公平。
好的是，最后，爱情总是能找回它来时的路。
记得《蓝宇》的后半部分，胡军出狱，和刘烨在北京的某个公园里坐着唱歌。那是在冬天拍摄的，两张覆盖着哈气的脸，令人落泪的劫难后相依为命之感——可最后结局太惨，我久久不能忘怀，甚至会想，就让影片结束在唱歌之处不好吗？
《卡罗尔》弥补了这个遗憾，它结束在列车刚刚驶出隧道重见光明的那一刻，停在了两个人找回彼此的地方。我每次回想起结局，Rooney试探、寻找、坚定地望向Cate的眼神，Cate终于发现她后，庆幸、释然、同样坚定的笑，都不由得深吸一口气......啊，对，这就是爱了。
直女看这部电影，根本不会意识到这是一部同性片，反而会因为两个女性角色而可以把自己代入到任何一方，然后深深沦陷。至于直男，好像并没有同样感受，据一起看电影的朋友说......
所以这部电影上映之后我一定要去再看一遍！大家也一定要看啊！虽然我就要剧透了啊！
影片开头是两位女主在吃饭时，被一个充满傻逼气质的男性打断，于是分开，但小姑娘显然坐在车里心神不宁，一直在回味女王。
然后故事就闪回到了两人初见的时候。
Cate就是Carol, 一位住在New Jersey的中产阶级富婆，在圣诞节前夕来到百货商场给女儿买圣诞礼物，从而遇见了Therese, 也就是Rooney的角色，一位一看就气质脱俗将来要进The New York Times 当摄影记者的百货公司售货员。
电闪雷鸣，看对眼了，Carol鬼使神差地给自己的女孩买了Therese说自己小时候最喜欢的火车模型，（可怜的女儿）然后有意无意地把手套落在了柜台，就如同高富帅总是会随意乱放钱包。
这时故事交代了两个人的感情状态，Carol有个非常疼爱的小女儿Wendy，但是对丈夫非常冷淡，在办理离婚；Therese有男票，还要娶她，也不缺乏来自The New York Times记者的追求，搞不好还是哥大J School毕业的，不过她当然没同意，可能因为记者太穷了实在。
Therese寄回了Carol的手套，并接到了对方的感谢电话，被邀请共进午餐。这场午餐就是两人第一次有张力的对手戏了，对于Carol的每一次flirt，根本接不住的小白兔要不就老老实实地认乖，要不就软软地打回去，以至于女王说周日来我家玩吧的时候，迫不及待地就说好啊好啊。
小白兔第一次去女王家玩的时候，拿上了自己的相机，拍下了女王买圣诞树的场面。当天晚上，气氛正浓，好巧不巧女王老公来了，还和女王大吵一架，这里有一个很值得注意的镜头：Therese听着窗外两人吵架的声音，把室内收音机或者唱片（记不清了）的声音调大了。
吵完架后，女王心情也不好，就让Therese自己坐火车回家了，小白兔在回去的火车上还哭了，然而在回家接到女王道歉电话时，还是分分钟原谅。（陷入爱情的人类啊。）
接下来的剧情发展就没什么新意了，总之就是慢慢地好上了，并在一起公路旅行的时候为观众奉献了一场精彩的床戏。其中，不得不提女王霸气的圣诞礼物赠送方式，买了新款的佳能相机，敲门，把盒子放在地上，等开门，把盒子踢进去，"圣诞快乐"。 哎，追我我也沦陷。
催泪的部分总是从事情变坏开始。Carol和Therese的事情被Carol的丈夫雇佣的私家侦探录下来了，丈夫以此威胁她。为了女儿，Carol离开了。
分开后，Therese心碎成渣，中间还给Carol打过一次电话，说I miss you, 被Carol挂断了，此处给了Carol的手一个按掉电话的特写，让我第一次泪奔了。
接下来就是重头戏的结尾啦！
两位女主很久后，没什么联系，连哥大JSchool都没上过的Therese进了The New York Times（好吧我就是忍不住要黑哈哈哈），Carol与生活妥协，为争夺孩子的监护权与前夫打官司。
一次Carol在坐车去律师所（不确定，总之是调停地点）的路上看见了走在街上的Therese，我觉得她的想法就是在那瞬间发生了转折，因为人在与所爱之人分隔许久再重逢时，总是很容易失去理智。
她选择了放弃，并愤怒地跟前夫进行了一番陈词，其中有一句印象很深，大概是说The most breathtaking gift we gave each other is Wendy. (their daughter)，当时心想：这句不错，学了，但要做甜言蜜语使。然后又说了大概是监护权我不要了让给你，不过你必须让我见孩子，不然咱们就法庭见吧，不过那样我们就会变得ugly, but we are not ugly people.
总之言之，她放弃了，在偶然见到了一次Therese之后，她就放弃了争夺监护权。
之后女王就出演了本剧中最没骨气的一幕，约了Therese吃饭，第一句就非常掉身价: I wasn't sure you would come. 还能再屌丝吗哈哈哈。紧接着扯了一堆没用的，进入了正题并进一步掉身价：I would like to invite you to live with me, though I thought you might say no. (可能不见得准确，但意思是对的。)
听到这全场都会心地笑了，多么笨拙的请求啊，带着害怕被拒绝的掩饰。
可惜，小白兔被伤太多了，一双令人心碎的眼睛看着女王，说：No, I don't think so.
接着女王又说了句什么我忘记了，然后又无奈地看着小白兔，说出了人类史上最无法拒绝的三个单词，同时将身价掉到谷底。
（不知道你有没有注意到，片头的倒叙开头，正是从Carol说完I Love You开始，于是观众不禁想，啊原来影片一开始，她刚和她表白过......）
估计小白兔这时再也无法控制自己的感情了，可惜，一个傻逼直男打断了他们的对话，Carol说那你们晚上玩好我先走了，Therese则带着无尽的复杂心绪坐车去了某party。
（Therese在车上的时候，望着在马路上互相搀扶着行走的一对夫妇出神，这个镜头被一篇英文评论形容为全篇最为酸楚的时刻，because of its telescope out into the universal. 大概的意思是说《卡罗尔》讲述了世间一切男男女女的爱而不得。）
接下来的每一幕，都特别让我感同身受，那种刚刚狠心拒绝了心爱的人，就心慌意乱，后悔万分，恨不得马上回去找他的心情，被Therese演绎地太好了。
在派对上，Therese估计看啥都没劲，最后终于决定去饭店找Carol。冲进饭店的大门，在熙熙攘攘的人群中寻找爱人，找到她，迈着坚定的步伐走向她，等着她也看见自己。当Cate也发现她时，回望，带着一种庆幸、释然、和同样的坚定的眼神，笑了。
看吧，爱情自会找到它来时的路。
上个月在纽约电影节看了《卡罗尔》，至今无法从那种情绪中抽离出来，每每想到其中几个情节，就惆怅不已。
主演大家都知道了，Cate Blanchett和Rooney Mara。戛纳电影节的时候就被炒得火热，Rooney Mara还凭此拿了金棕榈最佳女演员奖。
片子是讲同性爱情的，人物设置和《蓝宇》有些非常相似：两个年龄、阅历、财富都不在一个段位上的人相遇，擦出火花，然后相爱，分离。当然了，大的那个，世俗牵绊总是多些，小的那个，眼神更让人心疼，也更深情些，仿佛就是为了告诉人们：爱情真他妈的是不公平。
好的是，最后，爱情总是能找回它来时的路。
记得《蓝宇》的后半部分，胡军出狱，和刘烨在北京的某个公园里坐着唱歌。那是在冬天拍摄的，两张覆盖着哈气的脸，令人落泪的劫难后相依为命之感——可最后结局太惨，我久久不能忘怀，甚至会想，就让影片结束在唱歌之处不好吗？
《卡罗尔》弥补了这个遗憾，它结束在列车刚刚驶出隧道重见光明的那一刻，停在了两个人找回彼此的地方。我每次回想起结局，Rooney试探、寻找、坚定地望向Cate的眼神，Cate终于发现她后，庆幸、释然、同样坚定的笑，都不由得深吸一口气......啊，对，这就是爱了。
直女看这部电影，根本不会意识到这是一部同性片，反而会因为两个女性角色而可以把自己代入到任何一方，然后深深沦陷。至于直男，好像并没有同样感受，据一起看电影的朋友说......
所以这部电影上映之后我一定要去再看一遍！大家也一定要看啊！虽然我就要剧透了啊！
影片开头是两位女主在吃饭时，被一个充满傻逼气质的男性打断，于是分开，但小姑娘显然坐在车里心神不宁，一直在回味女王。
然后故事就闪回到了两人初见的时候。
Cate就是Carol, 一位住在New Jersey的中产阶级富婆，在圣诞节前夕来到百货商场给女儿买圣诞礼物，从而遇见了Therese, 也就是Rooney的角色，一位一看就气质脱俗将来要进The New York Times 当摄影记者的百货公司售货员。
电闪雷鸣，看对眼了，Carol鬼使神差地给自己的女孩买了Therese说自己小时候最喜欢的火车模型，（可怜的女儿）然后有意无意地把手套落在了柜台，就如同高富帅总是会随意乱放钱包。
这时故事交代了两个人的感情状态，Carol有个非常疼爱的小女儿Wendy，但是对丈夫非常冷淡，在办理离婚；Therese有男票，还要娶她，也不缺乏来自The New York Times记者的追求，搞不好还是哥大J School毕业的，不过她当然没同意，可能因为记者太穷了实在。
Therese寄回了Carol的手套，并接到了对方的感谢电话，被邀请共进午餐。这场午餐就是两人第一次有张力的对手戏了，对于Carol的每一次flirt，根本接不住的小白兔要不就老老实实地认乖，要不就软软地打回去，以至于女王说周日来我家玩吧的时候，迫不及待地就说好啊好啊。
小白兔第一次去女王家玩的时候，拿上了自己的相机，拍下了女王买圣诞树的场面。当天晚上，气氛正浓，好巧不巧女王老公来了，还和女王大吵一架，这里有一个很值得注意的镜头：Therese听着窗外两人吵架的声音，把室内收音机或者唱片（记不清了）的声音调大了。
吵完架后，女王心情也不好，就让Therese自己坐火车回家了，小白兔在回去的火车上还哭了，然而在回家接到女王道歉电话时，还是分分钟原谅。（陷入爱情的人类啊。）
接下来的剧情发展就没什么新意了，总之就是慢慢地好上了，并在一起公路旅行的时候为观众奉献了一场精彩的床戏。其中，不得不提女王霸气的圣诞礼物赠送方式，买了新款的佳能相机，敲门，把盒子放在地上，等开门，把盒子踢进去，"圣诞快乐"。 哎，追我我也沦陷。
催泪的部分总是从事情变坏开始。Carol和Therese的事情被Carol的丈夫雇佣的私家侦探录下来了，丈夫以此威胁她。为了女儿，Carol离开了。
分开后，Therese心碎成渣，中间还给Carol打过一次电话，说I miss you, 被Carol挂断了，此处给了Carol的手一个按掉电话的特写，让我第一次泪奔了。
接下来就是重头戏的结尾啦！
两位女主很久后，没什么联系，连哥大JSchool都没上过的Therese进了The New York Times（好吧我就是忍不住要黑哈哈哈），Carol与生活妥协，为争夺孩子的监护权与前夫打官司。
一次Carol在坐车去律师所（不确定，总之是调停地点）的路上看见了走在街上的Therese，我觉得她的想法就是在那瞬间发生了转折，因为人在与所爱之人分隔许久再重逢时，总是很容易失去理智。
她选择了放弃，并愤怒地跟前夫进行了一番陈词，其中有一句印象很深，大概是说The most breathtaking gift we gave each other is Wendy. (their daughter)，当时心想：这句不错，学了，但要做甜言蜜语使。然后又说了大概是监护权我不要了让给你，不过你必须让我见孩子，不然咱们就法庭见吧，不过那样我们就会变得ugly, but we are not ugly people.
总之言之，她放弃了，在偶然见到了一次Therese之后，她就放弃了争夺监护权。
之后女王就出演了本剧中最没骨气的一幕，约了Therese吃饭，第一句就非常掉身价: I wasn't sure you would come. 还能再屌丝吗哈哈哈。紧接着扯了一堆没用的，进入了正题并进一步掉身价：I would like to invite you to live with me, though I thought you might say no. (可能不见得准确，但意思是对的。)
听到这全场都会心地笑了，多么笨拙的请求啊，带着害怕被拒绝的掩饰。
可惜，小白兔被伤太多了，一双令人心碎的眼睛看着女王，说：No, I don't think so.
接着女王又说了句什么我忘记了，然后又无奈地看着小白兔，说出了人类史上最无法拒绝的三个单词，同时将身价掉到谷底。
（不知道你有没有注意到，片头的倒叙开头，正是从Carol说完I Love You开始，于是观众不禁想，啊原来影片一开始，她刚和她表白过......）
估计小白兔这时再也无法控制自己的感情了，可惜，一个傻逼直男打断了他们的对话，Carol说那你们晚上玩好我先走了，Therese则带着无尽的复杂心绪坐车去了某party。
（Therese在车上的时候，望着在马路上互相搀扶着行走的一对夫妇出神，这个镜头被一篇英文评论形容为全篇最为酸楚的时刻，because of its telescope out into the universal. 大概的意思是说《卡罗尔》讲述了世间一切男男女女的爱而不得。）
接下来的每一幕，都特别让我感同身受，那种刚刚狠心拒绝了心爱的人，就心慌意乱，后悔万分，恨不得马上回去找他的心情，被Therese演绎地太好了。
在派对上，Therese估计看啥都没劲，最后终于决定去饭店找Carol。冲进饭店的大门，在熙熙攘攘的人群中寻找爱人，找到她，迈着坚定的步伐走向她，等着她也看见自己。当Cate也发现她时，回望，带着一种庆幸、释然、和同样的坚定的眼神，笑了。
看吧，爱情自会找到它来时的路。
5 ) 卡罗尔———托德海因斯的意淫
看了十遍，不吐不快。
在冲奥加题材加导演加编剧的多重保险下，虽然白天看了8个小时视频都快吐了，回到家后还是打开卡罗尔看了起来。
这一看不要紧，我用了一个星期，大概看了十遍，从手机小屏幕渣画质，到大荧幕，所有能看的设备几乎都试了一遍，耐下性子，平心静气的看。看什么——看这个片子有什么可以看的！！！
别笑，真的。
然而至今，我都没找到看点。用某人的话就是：不抓人的戏不是好戏。那么，卡罗尔不是一部好戏。
近乎两个小时的剪辑，缓慢的叙事，无非是讲了《多金少妇爱上我》的故事，又名《少妇的自白—同性情人和孩子之间的抉择》，好了，Fin. 别的没了。
特芮丝和卡罗尔的故事基本上是脱离了社会背景而存在的，虽然卡罗尔的丈夫一直在纠缠，然而卡罗尔的丈夫一踢就倒的特质实在是让人出戏，整个事情是脱离了社会现实而存在的。女同小说和电影很容易犯的毛病就是脱离现实，一不小心就成了矫情狭窄的玛丽苏个人幻想，一句从美艳御姐口中说出的“我离婚了，孩子归对方，在麦迪逊大道有个大房间，你想来住吗”隔五秒“我爱你”，任何一个弯掉的妹子都会扑上去吧，如果这个情节换成郭敬明来拍，估计又会被骂惨了。当然这事儿得赖原著海史密斯这个意淫狂。我想，如果换成迪士尼来改编成动画电影或许比真人电影要好很多。
私以为，电影的意义在于引起观众的思考或者共鸣，然而这部电影很难引起观众的反映。（当然，纯粹看演员颜值的粉丝除外）我实在看不懂导演究竟想要表达什么。卡罗尔从头到尾的貂皮大衣和特丽莎显眼的花色帽子象征意义微乎其微，他们真的是“道具”啊！除此之外，从头到尾复古的滤镜，几乎多此一举的倒叙，尤其是反复出现的两位女主的对视每一次的差别也特别小。恕我视听课和电影理论课没有学好，实在看不出东西来。我竭力把自己武装成一个迷妹，然而无济于事，是的，女王的大红唇和傲人的曲线也救不了这部电影。
天鹅绒金矿的时候，托德海因斯选对了题材，他用他的视觉才华柔和传记奉献给我们一部精彩绝伦的电影。
然而这一次，我只想说：海因斯你在你视觉美学的海洋中过足了瘾，可是，你把观众当什么？
——————————————————————————————————————————
有的豆友提出，他被这部电影的细腻所打动，如果是这样，我推荐李宋喜一的同性题材作品《夜间飞行》来感受一下细腻感情的影像化表达。
----------------------------------------------------------------------------------------------------------------------
诸位看官，如果你觉得这篇评论没用的话，能留言告诉我你为什么觉得这部电影优秀吗？只是想了解一下，谢谢！------2.25更新：大家怎么不说说你喜欢这部电影的理由呢？要做一个和这部电影有关的项目，所以请各位留言觉得我说得不对的看官，能在表达你的不满时顺便说说你觉得这部电影究竟哪里优秀吗？一个一个发豆油或者回复不过来呀！在此谢谢大家了！------3.19更新：作业已提交，引用了大家的部分观点，再次谢谢大家的留言！
评论第二页电梯//movie.douban.com/review/7713428/?start=100#comments
在冲奥加题材加导演加编剧的多重保险下，虽然白天看了8个小时视频都快吐了，回到家后还是打开卡罗尔看了起来。
这一看不要紧，我用了一个星期，大概看了十遍，从手机小屏幕渣画质，到大荧幕，所有能看的设备几乎都试了一遍，耐下性子，平心静气的看。看什么——看这个片子有什么可以看的！！！
别笑，真的。
然而至今，我都没找到看点。用某人的话就是：不抓人的戏不是好戏。那么，卡罗尔不是一部好戏。
近乎两个小时的剪辑，缓慢的叙事，无非是讲了《多金少妇爱上我》的故事，又名《少妇的自白—同性情人和孩子之间的抉择》，好了，Fin. 别的没了。
特芮丝和卡罗尔的故事基本上是脱离了社会背景而存在的，虽然卡罗尔的丈夫一直在纠缠，然而卡罗尔的丈夫一踢就倒的特质实在是让人出戏，整个事情是脱离了社会现实而存在的。女同小说和电影很容易犯的毛病就是脱离现实，一不小心就成了矫情狭窄的玛丽苏个人幻想，一句从美艳御姐口中说出的“我离婚了，孩子归对方，在麦迪逊大道有个大房间，你想来住吗”隔五秒“我爱你”，任何一个弯掉的妹子都会扑上去吧，如果这个情节换成郭敬明来拍，估计又会被骂惨了。当然这事儿得赖原著海史密斯这个意淫狂。我想，如果换成迪士尼来改编成动画电影或许比真人电影要好很多。
私以为，电影的意义在于引起观众的思考或者共鸣，然而这部电影很难引起观众的反映。（当然，纯粹看演员颜值的粉丝除外）我实在看不懂导演究竟想要表达什么。卡罗尔从头到尾的貂皮大衣和特丽莎显眼的花色帽子象征意义微乎其微，他们真的是“道具”啊！除此之外，从头到尾复古的滤镜，几乎多此一举的倒叙，尤其是反复出现的两位女主的对视每一次的差别也特别小。恕我视听课和电影理论课没有学好，实在看不出东西来。我竭力把自己武装成一个迷妹，然而无济于事，是的，女王的大红唇和傲人的曲线也救不了这部电影。
天鹅绒金矿的时候，托德海因斯选对了题材，他用他的视觉才华柔和传记奉献给我们一部精彩绝伦的电影。
然而这一次，我只想说：海因斯你在你视觉美学的海洋中过足了瘾，可是，你把观众当什么？
——————————————————————————————————————————
有的豆友提出，他被这部电影的细腻所打动，如果是这样，我推荐李宋喜一的同性题材作品《夜间飞行》来感受一下细腻感情的影像化表达。
----------------------------------------------------------------------------------------------------------------------
诸位看官，如果你觉得这篇评论没用的话，能留言告诉我你为什么觉得这部电影优秀吗？只是想了解一下，谢谢！------2.25更新：大家怎么不说说你喜欢这部电影的理由呢？要做一个和这部电影有关的项目，所以请各位留言觉得我说得不对的看官，能在表达你的不满时顺便说说你觉得这部电影究竟哪里优秀吗？一个一个发豆油或者回复不过来呀！在此谢谢大家了！------3.19更新：作业已提交，引用了大家的部分观点，再次谢谢大家的留言！
评论第二页电梯//movie.douban.com/review/7713428/?start=100#comments
6 ) An angel flung out of space
《卡罗尔》无疑是我今年看过的最美的电影。电影摄影的每一帧都如此考究细腻：倒影的车窗，相机的胶片，人物的每一个表情，都细致入微。开场的长镜头，伴随着一个男子穿过纽约街巷，把我带到了Therese和Carol重逢的桌前。两人欲说还休，正经历着最难的抉择，却被这个陌生男人冒昧打断。Therese随之搭车离开，车窗上倒映着Therese的脸以及纽约的夜色和灯火，回忆从此缓缓展开。
在电影如诗般的语言中，《卡罗尔》的故事娓娓道来。Todd Haynes的导演才华再一次在《卡罗尔》中得到体现，他似乎总能对女性的感情有着精准的捕捉，从《远离天堂》里Cathy Whitaker(Julianne Moore饰)和黑人园丁的跨阶级的爱情，到《幻世浮生》里Mildred Pierce(Kate Winslet饰)和女儿情人之间的伦理悲剧，Todd Haynes的叙事和选角都让人惊叹。《卡罗尔》的美，不仅体现在摄影的复古优美，配乐的切合动人，叙事的流畅自如上，更重要的是两位女主的选择。Cate Blanchett的女王气质贴合Carol的优雅和自信，她穿着毛皮大衣，身上散发着令人着迷的香水气息（Cate也在代言阿玛尼的香水），从容的微卷的金发和原著《盐的代价》中的描述几乎一模一样。电影中Cate饰演的Carol在和丈夫在调解庭内的一幕戏，让人对Cate的演技再次膜拜。她在短短两分钟内爆发出的退让的恳求、逞强的尊严以及同归于尽的威胁，瞬间为她争取了今年年底各种大奖的提名：别忘了她刚借《蓝色茉莉》拿到奥斯卡影后。而Rooney Mara一点也不输给Cate，她把一个19岁的年轻忐忑，情窦初开，既慌乱又勇敢的Therese演活了。《盐的代价》里故事的叙述都是靠Therese第三人称的视角完成的，所以Therese的感情变化其实是撑起剧情起承转合的主线。Rooney做到了，从Therese第一眼在Frankenberg百货看到Carol起的一见倾心，到之后她为爱情沉醉痴迷又为突变惊愕慌乱，以及最终她追逐梦想终在Times任职时像鲜花一样绽放美丽，她的表演如此真实，无不向观众证明她的戛纳获奖实至名归。她或许会是明年奥斯卡最有力的获奖冲击者。
电影《卡罗尔》对原著《盐的代价》有少许改编，电影很巧妙地将原著中Therese的爱好从舞台设计改成摄影，无疑对Therese对Carol的暗恋般的心情有更好地体现。而在Frankenberg初遇的那双“遗落”的手套，相对原著中Therese直接寄上贺卡问候，显得更顺理成章，算是一个神来之笔吧。
电影中我记忆最深的一句台词是Carol初次约Therese出来，对她说的一句话，她说：What a strange girl you are, flung out of space. 你真是一个奇怪的女孩，像是个天外来客。这句话很难直译，仿佛Carol在说Therese像是个外星人，又或指Therese经常思维飘忽神游物外的特质。之后Carol和Therese公路旅行，在她们的一场性爱戏中，Carol又对Therese说，My angel, flung out of space. 你像是从宇宙中飞来的我的天使。我觉得，这应该是全片中Carol除了“I love you”之外，最发自内心的表白。
在Indiewire对导演Todd Haynes和两位女主的采访中Cate说道，我深深记得那句台词，电影试图展现那个时代女人之间的距离，这距离就像是男人们主宰着的运行轨道之间的时空，她（Therese）缺少和人的联系，时而错过一些人，当她终于和Carol相遇，她们都会觉得不可思议。
Todd则说，正如Cate所说，这宇宙指的是未知的恋爱的概率，你身处其中却全然不知是否对方也和你有一样的感觉，这应该是对“flung out of space"的最好的定义：你对你想了解的人的无法预知。这也恰好是两个主人公性格中无法预测的部分。
我很庆幸Haynes拍了这部电影，因为《盐的代价》作为一本女同性恋作家写的女同性恋文学作品，应该交由一个有把握完成她的人来拍，这才不枉作者Patricia Highsmith在书出版后40年后才承认创作。和《天才雷普利》 以及《火车怪客》的惊悚相比，《盐的代价》更需要的是勇敢，一份敢于追求真爱的勇气。在两年前《阿黛尔的生活》大放异彩之后，这部《卡罗尔》虽少了令人咋舌的真实的性爱，少了轰轰烈烈敢爱敢恨的现代爱情，却多了彼时生活在“同性恋矫正”高压下人们追求真爱的勇气，虽不完美，却格外精美。倘若她能在这半个多世纪过后，这“同志仍需努力”的，同志群体依然需要争取平等的今天，为大家带来一些勇气，或者哪怕只是让大家更多的了解到女同这个群体，或者更而甚之，只是让人们看到爱情的不同的可能性，我们都应该满足。谁也不能预知谁会是你宇宙中的下一个天使，跟随内心或许才是找到出路的唯一途径。
只因心中有对方，黑夜无需再漫长。总有一天，你会在宇宙洪荒和滚滚红尘中驻足凝眸，转身看见你的天使。她眉眼弯弯，言笑晏晏，似乎看穿了命运和羁绊，只为了这一刹那的相逢。唯有星辰不负夜，愿你遇见，你生命中的温柔。
据说写影评的人好多都有相似的经历：http://www.douban.com/note/127456246/
在电影如诗般的语言中，《卡罗尔》的故事娓娓道来。Todd Haynes的导演才华再一次在《卡罗尔》中得到体现，他似乎总能对女性的感情有着精准的捕捉，从《远离天堂》里Cathy Whitaker(Julianne Moore饰)和黑人园丁的跨阶级的爱情，到《幻世浮生》里Mildred Pierce(Kate Winslet饰)和女儿情人之间的伦理悲剧，Todd Haynes的叙事和选角都让人惊叹。《卡罗尔》的美，不仅体现在摄影的复古优美，配乐的切合动人，叙事的流畅自如上，更重要的是两位女主的选择。Cate Blanchett的女王气质贴合Carol的优雅和自信，她穿着毛皮大衣，身上散发着令人着迷的香水气息（Cate也在代言阿玛尼的香水），从容的微卷的金发和原著《盐的代价》中的描述几乎一模一样。电影中Cate饰演的Carol在和丈夫在调解庭内的一幕戏，让人对Cate的演技再次膜拜。她在短短两分钟内爆发出的退让的恳求、逞强的尊严以及同归于尽的威胁，瞬间为她争取了今年年底各种大奖的提名：别忘了她刚借《蓝色茉莉》拿到奥斯卡影后。而Rooney Mara一点也不输给Cate，她把一个19岁的年轻忐忑，情窦初开，既慌乱又勇敢的Therese演活了。《盐的代价》里故事的叙述都是靠Therese第三人称的视角完成的，所以Therese的感情变化其实是撑起剧情起承转合的主线。Rooney做到了，从Therese第一眼在Frankenberg百货看到Carol起的一见倾心，到之后她为爱情沉醉痴迷又为突变惊愕慌乱，以及最终她追逐梦想终在Times任职时像鲜花一样绽放美丽，她的表演如此真实，无不向观众证明她的戛纳获奖实至名归。她或许会是明年奥斯卡最有力的获奖冲击者。
电影《卡罗尔》对原著《盐的代价》有少许改编，电影很巧妙地将原著中Therese的爱好从舞台设计改成摄影，无疑对Therese对Carol的暗恋般的心情有更好地体现。而在Frankenberg初遇的那双“遗落”的手套，相对原著中Therese直接寄上贺卡问候，显得更顺理成章，算是一个神来之笔吧。
电影中我记忆最深的一句台词是Carol初次约Therese出来，对她说的一句话，她说：What a strange girl you are, flung out of space. 你真是一个奇怪的女孩，像是个天外来客。这句话很难直译，仿佛Carol在说Therese像是个外星人，又或指Therese经常思维飘忽神游物外的特质。之后Carol和Therese公路旅行，在她们的一场性爱戏中，Carol又对Therese说，My angel, flung out of space. 你像是从宇宙中飞来的我的天使。我觉得，这应该是全片中Carol除了“I love you”之外，最发自内心的表白。
在Indiewire对导演Todd Haynes和两位女主的采访中Cate说道，我深深记得那句台词，电影试图展现那个时代女人之间的距离，这距离就像是男人们主宰着的运行轨道之间的时空，她（Therese）缺少和人的联系，时而错过一些人，当她终于和Carol相遇，她们都会觉得不可思议。
Todd则说，正如Cate所说，这宇宙指的是未知的恋爱的概率，你身处其中却全然不知是否对方也和你有一样的感觉，这应该是对“flung out of space"的最好的定义：你对你想了解的人的无法预知。这也恰好是两个主人公性格中无法预测的部分。
我很庆幸Haynes拍了这部电影，因为《盐的代价》作为一本女同性恋作家写的女同性恋文学作品，应该交由一个有把握完成她的人来拍，这才不枉作者Patricia Highsmith在书出版后40年后才承认创作。和《天才雷普利》 以及《火车怪客》的惊悚相比，《盐的代价》更需要的是勇敢，一份敢于追求真爱的勇气。在两年前《阿黛尔的生活》大放异彩之后，这部《卡罗尔》虽少了令人咋舌的真实的性爱，少了轰轰烈烈敢爱敢恨的现代爱情，却多了彼时生活在“同性恋矫正”高压下人们追求真爱的勇气，虽不完美，却格外精美。倘若她能在这半个多世纪过后，这“同志仍需努力”的，同志群体依然需要争取平等的今天，为大家带来一些勇气，或者哪怕只是让大家更多的了解到女同这个群体，或者更而甚之，只是让人们看到爱情的不同的可能性，我们都应该满足。谁也不能预知谁会是你宇宙中的下一个天使，跟随内心或许才是找到出路的唯一途径。
只因心中有对方，黑夜无需再漫长。总有一天，你会在宇宙洪荒和滚滚红尘中驻足凝眸，转身看见你的天使。她眉眼弯弯，言笑晏晏，似乎看穿了命运和羁绊，只为了这一刹那的相逢。唯有星辰不负夜，愿你遇见，你生命中的温柔。
据说写影评的人好多都有相似的经历：http://www.douban.com/note/127456246/
重看依然感动，并发现了更多细节。当结尾，特芮丝终于决定走向卡罗尔的时候，真是美好又激动哇
结尾的时候我窒息了。凯特的表演令我略有失望，可鲁尼·玛拉...凡是深深暗恋过一次的人，都能在她的表演中得到共鸣。克制，复古，充满感情。我被感动和幸福久久地包围。
戛纳主竞赛单元目前最好看的一部。Todd Haynes这种奔着Sirk路子拍的Melodrma都挺棒的，反倒特别反感他的那些摇滚题材。Cate Blanchett太厉害了，感觉只要光听她的声音，直的弯的全世界都会被她收走。PS，补看了一遍，发觉其实上次每个场景都没落下，就是脑子一片苍茫，太他妈可怕了。
已经闻到拿奖的气息了
面对爱情面对自我时作出勇敢抉择的两个女人，如化骨绵掌般温柔克制而坚定有力，这部电影亦如此。最后那段情感力量喷薄而出，完全没有抵抗力直接飙泪。
NYFF现场，有天朝迷妹提问道Cate你知不知道全中国的妹子都为你弯了，全场哄笑。当然啦这个提问meant to be a joke，出乎我意料的是Cate居然依旧认真的回答了下去。她认为，导演以一个局外人的角度完美描绘了一个fall in love的故事才让Carol这个角色给观众带来爱情的感觉。
最后那段凝视，鲁妮的眼神和表情变化所展现出来的演技已经完全够资格拿奥斯卡了，更别说在整部电影里的精湛发挥。她的表演润物细无声，完全不着痕迹 。就像高手出招，看似轻巧，但其实招招毙命，没有一拳是打歪的。她真是棒的匪夷所思
讲一个女人向另一个女人学习如何驾驭女性美，女性魅力、穿着品味和言行举止都不是与生俱来的，而卡罗尔开启了一个懵懂少女的这扇门，少女爱上的就像理想中的自己。眼神流转，拍的情绪上张力十足，两人的感情关系里充满着不确定感，前后两人的视角上也有一个微妙的转换，并没有被震撼到。★★★★
就没人同情她老公么？此男痴汉一个。爱的不比二位女主浅，却成了这场胜却人间无数颜值的恋情的炮灰。我们只是看见了当时的自己而已。
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凯特女王的I-wanna-fuck-you eyes 和鲁尼的fuck-me eyes 让这部霸总爱情故事各种赏心悦目，平地升仙。
Carol是渣攻，这眼神我见识过。一旦爱上这人你就没整没治没救了，这事我经历过。
直男恋爱教学篇 送相机请附带胶卷好嘛
其实就是个很普通的爱情故事。很美，但美不代表好，凯特角色的缺乏脆弱性让她有些失真，鲁妮玛拉传情传神。演员，氛围，摄影，音乐，美术是加分项，但绝不是决定因素。它们只是定义了影片的基调。
比《断背山》差了五个《阿黛尔的生活》，就酱紫
不用再加“同性”的限定语，这就是今年最美的爱情电影。托德·海因斯的镜头从头到尾都是两位女性，只是两位女性，其他一切仿佛都不重要了。这是最轻小的格局，也是最汹涌的情欲，光对视就能让人落泪，因为你知道这世界上有两人为了对方，此身愿作万矢的。
鲁尼玛拉是个被低估的演员，她拥有如此美的样貌，不需要这样好的演技，有这样好的演技，不需要拥有如此美的容颜。
只因心中有对方，黑夜无需再漫长。总有一天，你会在宇宙洪荒和滚滚红尘中驻足凝眸，转身看见你的天使。她眉眼弯弯，言笑晏晏，似乎看穿了命运和羁绊，只为了这一刹那的相逢。唯有星辰不负夜，愿你遇见，你生命中的温柔。
请一定去看这部电影。它满足了我对御姐的所有幻想。我跪着出了电影院。
“我离婚了，孩子归对方，在麦迪逊大道有个大房间，你想来住吗”隔五秒“我爱你” #什么妹子把不到