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圣安地列斯地震蜀山奇侠粤语神探驾到 浮華宴如来神掌2020黑白小姐第二季假面骑士超电王三部曲零诺斯篇看不见的客人（国语版）欢乐一家亲第八季SSSS.电光机王人人都爱雷蒙德 第七季冻肉双面沦陷 动态漫画恋爱前辈说终结一切战争：奥本海默和原子弹砂之器间谍过家家Part2敬盛堂的春大神魔鬼悍将寅次郎的故事26：寅次郎海鸥之歌丹尼尔·斯洛斯：X Daniel Sloss: X神捕铁飞花之生死赌局杀死伊芙 第一季僵尸肖恩快乐再出发第二季史楚锡流浪记好戏开场X星来客东方骚空中塞车危险方法2022啦啦啦德玛西亚第三季云南虫谷之献王传说巅峰战士天盛长歌第九个寡妇归去来2018我的心里只有你没有他V8：雷霆卡丁15点17分，启程巴黎歼灭任务回乡逗儿天赐宝贝请和我奔现吧EDA记忆清除公司第一季我的最爱幽幻道士4孩子王黑帮团伙全美超模大赛第十季
圣安地列斯地震蜀山奇侠粤语神探驾到 浮華宴如来神掌2020黑白小姐第二季假面骑士超电王三部曲零诺斯篇看不见的客人（国语版）欢乐一家亲第八季SSSS.电光机王人人都爱雷蒙德 第七季冻肉双面沦陷 动态漫画恋爱前辈说终结一切战争：奥本海默和原子弹砂之器间谍过家家Part2敬盛堂的春大神魔鬼悍将寅次郎的故事26：寅次郎海鸥之歌丹尼尔·斯洛斯：X Daniel Sloss: X神捕铁飞花之生死赌局杀死伊芙 第一季僵尸肖恩快乐再出发第二季史楚锡流浪记好戏开场X星来客东方骚空中塞车危险方法2022啦啦啦德玛西亚第三季云南虫谷之献王传说巅峰战士天盛长歌第九个寡妇归去来2018我的心里只有你没有他V8：雷霆卡丁15点17分，启程巴黎歼灭任务回乡逗儿天赐宝贝请和我奔现吧EDA记忆清除公司第一季我的最爱幽幻道士4孩子王黑帮团伙全美超模大赛第十季
长篇影评
1 ) 令人怦然心动的爱情
看过Carol两周了，我依然会想，女人间的恋情果真都像电影里那样美吗？一定不是的。《穆赫兰道》里的恋情有许多是痛苦。Blue is the warmest colour的恋情也许是美的，但更多的大概是毁灭性？其实我并没有看过Blue is the warmest colour，虽然我爱Lea Seydoux。
所以Carol是我看过的第一部描绘女性间恋情的电影。个人感觉Carol似乎是好莱坞大银幕上第一部以正面笔触认真描绘女性间恋情的电影，在这一点上，它具有不可忽略的历史地位。
纵然它的历史地位已不可超越，要命的是它还拍得这么美。Carol是我今年看过的最好的电影。它的美令我落泪令我震颤。
然而我并没有经历过女人间的爱情，凭什么被打动至此呢？对此我们只能说，爱情就是爱情，无论当事人是谁。爱情永远有令人心颤的力量。
我爱Todd Haynes勾画的那个50年代的世界，也是冬天，也是临近圣诞节（studio把上映档期安排得多巧妙），百货商店里的灯光闪耀着，Terese站在柜台后面，戴着圣诞老人的红帽子，沉静却似乎带着几分哀愁。我们随着她的目光看去，Carol立在玩具火车边。那是一见钟情吗？后来我一直在想。想象中怦然心动的爱情似乎就是这样子的。
两位女演员都太出色了，而我爱此片中的Rooney Mara胜于Cate Blanchett。Terese是个让人猜不透的令人着迷的姑娘。她冷静，自知，似乎在安然地等待，然而内心一定是澎湃如火山般的。Terese应该是个涉世未深的姑娘，但她的涉世未深也是让人琢磨的。She is her own person。她初次去Carol家里作客，却默默地在厨房里准备茶点，她简约的话语背后全是对Carol安静的依恋。她为什么爱她？回头想想Cate Blanchett的Carol。我最爱她的波澜不惊，她的经验和从容，还有她似乎潜在的疯狂（看到结尾发现其实并没有）。她的生活正驶向最莫测的未来：离婚，失去对女儿的抚养权，然而她永远举止优雅，妆容精致。似乎她已见过人性和生活中最艰深的角落，然而这些不足以击倒她，却成为她魅力的一部分。她开车来接Terese，对前来送行的Richard说，“Terese对你评价很高”。傻小子听罢只管高兴去了（你爱的姑娘就和女士谈恋爱去了哟呵呵）。更让人难忘的是电影开头（即临近结尾）餐厅的那一幕，一位Terese的熟人冒失地破坏了两人最珍贵的一刻，而且见鬼了，这熟人又是位傻小子。Carol温婉地笑着和傻小子问好，从容地起身告辞，临别时在Terese肩上一按。然而我们看见Terese的神情，便知道这肩上的一按非同寻常。Terese在颤抖呢，心中全是排山倒海的感情。
本片的叙事是实实在在的，自然，举重若轻。那些安安静静的试探承载了多少暗底下的波涛汹涌呵，这便是导演和演员的功力。她们的相互吸引是那样明显，让人感到空气简直要被电穿了，所以当Terese毫无犹豫地答应与Carol一起离开纽约，我们作为观众只感到欢欣鼓舞。还有那个关键的新年前夜，Terese轻声低吟说“take me to bed”，我觉得这真是近年来好莱坞银幕上最性感的时刻，比James Bond出场的相似场面性感一千倍。
除了对两人的感情描绘，本片还有三点值得一提。其一，它对生活和人的复杂性没有遮掩，而全是亮给我们看。Carol是复杂的，Terese是复杂的，其他人物如Carol的丈夫，Carol之前的恋人，追Terese的男孩子们（Richard，在《纽约时报》办公室里吻她的男生）各个立体可信。其二，复杂的女性成了电影的真正主角。我们看到的是她们的心理和行为如何推动故事的进展。她们的形象是鲜活丰满的。而相对的，男性角色在本片中全是陪衬，不但是陪衬，而且甚至是和女性角色对立的，给女性们设置障碍的绊脚石：Carol的丈夫和Terese的追求者Richard自不用提，长相creepy的私家侦探面目可憎，尤其在餐厅里高声叫Terese打断二人会面的男人，观众一定觉得他可恨极了。我猜这大概反应出原作者Patricia Highsmith对男性的态度（她也是女同性恋），而且也反映出50年代男女的社会地位差异。试想：如果Terese的男性熟人朋友看到Terese在餐厅里与一位男士共进晚餐，他敢不敢冒失地高声叫她的名字？当然不敢。第三，本片把浪漫和悬疑的气氛揉合得极好。悬疑主要来自我们对Carol会做出的行为的猜测。她看上去似乎像是会做出疯狂事情的女子，然而看到最后我们发现并没有。我猜这也是原作者的功劳，The Talented Mr Ripley有同样的氛围。而Carol会给我们这样的联想大概和Cate Blanchett在Blue Jasmine中的表演有关。
最后不得不说，音乐真好极了。原声配乐是Carter Burwell的杰作。音乐主题由钢琴引出，带着不安和寻觅，随后加入单簧管，孤寂，憧憬和欲望揉合进来，到后来，旋律稍稍奔放起来，美得令人感动。女性的爱情也应该这样绽放。此外配乐里用了大量50年代的名曲，crooners的轻歌曼舞，为电影氛围增色许多。本片的音乐总监是Randall Poster，从Rushmore到Grand Budapest Hotel的Wes Anderson电影音乐都是他帮着选的。我真想知道他的record collection是啥样。
所以Carol是我看过的第一部描绘女性间恋情的电影。个人感觉Carol似乎是好莱坞大银幕上第一部以正面笔触认真描绘女性间恋情的电影，在这一点上，它具有不可忽略的历史地位。
纵然它的历史地位已不可超越，要命的是它还拍得这么美。Carol是我今年看过的最好的电影。它的美令我落泪令我震颤。
然而我并没有经历过女人间的爱情，凭什么被打动至此呢？对此我们只能说，爱情就是爱情，无论当事人是谁。爱情永远有令人心颤的力量。
我爱Todd Haynes勾画的那个50年代的世界，也是冬天，也是临近圣诞节（studio把上映档期安排得多巧妙），百货商店里的灯光闪耀着，Terese站在柜台后面，戴着圣诞老人的红帽子，沉静却似乎带着几分哀愁。我们随着她的目光看去，Carol立在玩具火车边。那是一见钟情吗？后来我一直在想。想象中怦然心动的爱情似乎就是这样子的。
两位女演员都太出色了，而我爱此片中的Rooney Mara胜于Cate Blanchett。Terese是个让人猜不透的令人着迷的姑娘。她冷静，自知，似乎在安然地等待，然而内心一定是澎湃如火山般的。Terese应该是个涉世未深的姑娘，但她的涉世未深也是让人琢磨的。She is her own person。她初次去Carol家里作客，却默默地在厨房里准备茶点，她简约的话语背后全是对Carol安静的依恋。她为什么爱她？回头想想Cate Blanchett的Carol。我最爱她的波澜不惊，她的经验和从容，还有她似乎潜在的疯狂（看到结尾发现其实并没有）。她的生活正驶向最莫测的未来：离婚，失去对女儿的抚养权，然而她永远举止优雅，妆容精致。似乎她已见过人性和生活中最艰深的角落，然而这些不足以击倒她，却成为她魅力的一部分。她开车来接Terese，对前来送行的Richard说，“Terese对你评价很高”。傻小子听罢只管高兴去了（你爱的姑娘就和女士谈恋爱去了哟呵呵）。更让人难忘的是电影开头（即临近结尾）餐厅的那一幕，一位Terese的熟人冒失地破坏了两人最珍贵的一刻，而且见鬼了，这熟人又是位傻小子。Carol温婉地笑着和傻小子问好，从容地起身告辞，临别时在Terese肩上一按。然而我们看见Terese的神情，便知道这肩上的一按非同寻常。Terese在颤抖呢，心中全是排山倒海的感情。
本片的叙事是实实在在的，自然，举重若轻。那些安安静静的试探承载了多少暗底下的波涛汹涌呵，这便是导演和演员的功力。她们的相互吸引是那样明显，让人感到空气简直要被电穿了，所以当Terese毫无犹豫地答应与Carol一起离开纽约，我们作为观众只感到欢欣鼓舞。还有那个关键的新年前夜，Terese轻声低吟说“take me to bed”，我觉得这真是近年来好莱坞银幕上最性感的时刻，比James Bond出场的相似场面性感一千倍。
除了对两人的感情描绘，本片还有三点值得一提。其一，它对生活和人的复杂性没有遮掩，而全是亮给我们看。Carol是复杂的，Terese是复杂的，其他人物如Carol的丈夫，Carol之前的恋人，追Terese的男孩子们（Richard，在《纽约时报》办公室里吻她的男生）各个立体可信。其二，复杂的女性成了电影的真正主角。我们看到的是她们的心理和行为如何推动故事的进展。她们的形象是鲜活丰满的。而相对的，男性角色在本片中全是陪衬，不但是陪衬，而且甚至是和女性角色对立的，给女性们设置障碍的绊脚石：Carol的丈夫和Terese的追求者Richard自不用提，长相creepy的私家侦探面目可憎，尤其在餐厅里高声叫Terese打断二人会面的男人，观众一定觉得他可恨极了。我猜这大概反应出原作者Patricia Highsmith对男性的态度（她也是女同性恋），而且也反映出50年代男女的社会地位差异。试想：如果Terese的男性熟人朋友看到Terese在餐厅里与一位男士共进晚餐，他敢不敢冒失地高声叫她的名字？当然不敢。第三，本片把浪漫和悬疑的气氛揉合得极好。悬疑主要来自我们对Carol会做出的行为的猜测。她看上去似乎像是会做出疯狂事情的女子，然而看到最后我们发现并没有。我猜这也是原作者的功劳，The Talented Mr Ripley有同样的氛围。而Carol会给我们这样的联想大概和Cate Blanchett在Blue Jasmine中的表演有关。
最后不得不说，音乐真好极了。原声配乐是Carter Burwell的杰作。音乐主题由钢琴引出，带着不安和寻觅，随后加入单簧管，孤寂，憧憬和欲望揉合进来，到后来，旋律稍稍奔放起来，美得令人感动。女性的爱情也应该这样绽放。此外配乐里用了大量50年代的名曲，crooners的轻歌曼舞，为电影氛围增色许多。本片的音乐总监是Randall Poster，从Rushmore到Grand Budapest Hotel的Wes Anderson电影音乐都是他帮着选的。我真想知道他的record collection是啥样。
2 ) 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/
3 ) 同性爱情，或只是爱情
两周前在纽约电影节看的这部片子，当时看完趁导演和主演还没走出来问答的空当儿，上豆瓣打了五星。虽然刚看完感觉片子并没有像预期中的那样成为一部“了不起的杰作”，但有托德海因斯的稳定发挥，从故事完整性，节奏的把控，画面的精美程度，演员表演等各个方面来看，都是一部完成度极高，几乎挑不出毛病来的作品。
然而刚看完以后那种压抑又兴奋，掺杂着感动的情绪并没有持续太久，取而代之的是一种失落感，失落的是这样一部令人期待的题材和电影，仍走不出以往同性爱情电影中话题与共鸣之间无法平衡的怪圈：如果不是因为同性，她们的爱情故事未免流于俗套，而过分强调同性，又削弱了主角之间感情的纯粹与真诚。也许在这类影片中寻找“深刻的社会属性”本身就是一种过度诠释，但不可否认的是，类似的同性题材在近些年的电影节当中可谓赚足了眼球。一方面利用同性题材的敏感性先入为主的抬高立意，一方面却对同性恋在社会中所受到的阻力避而不谈，这绝不是创作者的本意。说到底，可能因为敏感的并不是同性题材，而是我们观众自己。
故事背景在托德·海因斯擅长的五六十年代，低饱和的红绿色调，大萧条后的纽约街头，圣诞之前的寒冷天气，无一不营造了一种绝望的氛围，仿佛在这种绝望之中任何人与任何人相爱都是顺理成章。片头使用倒叙，先插补了一段结尾时两人分手又重逢的感情戏，加以铺垫，一边钓足了观众的胃口，一边在结构上弥补了两个人相爱时的前戏不足。特芮丝先于卡罗尔出场，交代了她商店营业员的职业和圣诞节前夕的时间背景，然后就是主角卡罗尔出场了，一个不知道该给自己的孩子买什么礼物的贵妇。这一段的可贵之处在于在某种程度上打破了同性题材中必须“一攻一受”的思维模式，虽然卡罗尔穿着奢华的貂皮大衣，而特芮丝只是个营业员，但此时需要帮助的是前者。她试图在商店里点烟而被制止的尴尬，不知道买什么礼物给孩子时的手足无措，无疑使她在这时处于相对的弱势，即使从她的眼神中我们感到，这有可能是她把妹的一种惯用手段。短暂的相识使得主动权来到了特芮丝手中，似乎在这场游戏中她不是卡罗尔的猎物，而是一个她想接近却又不敢试探的对象。那对遗留在柜台上的手套到底是卡罗尔的诱饵，还是特芮丝主动出击的猎枪，都是值得玩味的小细节。
虽然俩人好得很快，但胜在点滴入微，从家宴到送相机，从旅行到上床，水到渠成。丈夫（前夫）作为两人爱情的主要破坏者可能是一些人认为影片不够激进的原因之一，因为这个角色主要是一个受害者的形象，甚至可以说是一个可怜的人。但正是这种不左不右的态度使得这部片子没有过分强调性别意识和同性恋在社会舆论中的地位，而是把重心放在了两人的感情本身上，这种处理方式比同样题材尖锐的《远离天堂》显得还要高明一些。试想一下，如果一开始就在两人亲密出游时补一些男人们议论纷纷的镜头，或者借男人之口对特芮丝的冷淡加以点评，那么无疑把对两性意识形态的描写提上去了，但品位一下就low了，变成了另一种自以为是的“政治正确癌”，不好。但正是这种在两性题材上非常克制的把控，使得影片的高潮显得不够刺激和煽动（当然，如果把床戏当做高潮的话那就够了）。丈夫雇佣的私家侦探录下了两人的性爱音频，这本是一桩现在看来都非常严重的侵犯，但这么做的目的不是扳倒卡罗尔的社会地位，毁掉她的人生前途，而是为了在离婚诉讼中抢夺孩子的抚养权。虽然同样作为一个母亲我非常理解丧失抚养权对这个角色的意义，但是放到通篇中看，仅仅把离婚诉讼作为戏剧冲突中最大的“障碍”使得这一段的情绪爆发显得有些张力不足。
判断同性之爱在主题中是否重要的一个简单方法就是问一个问题：如果把特芮丝的角色换成男性，那个故事成立吗？答案是不仅成立，而且异常合理。但故事就变成了一桩我们熟悉的婚外情始末，一则单纯的爱情小品。
另外补充就是卡罗尔的闺蜜这个角色，前史过多，交代不清，作为情节的润滑剂很好使，台词帮助镜头丰满了卡罗尔这个人物，但是过于分散注意力，我觉得反而是删掉比较好。
开头和结尾的重逢段落是我非常喜欢的，文学性很强，凯特和鲁尼表演也是教科书般的走心，与这一段相似的是《相见恨晚》中的车站离别，不知海因斯是否有致敬的意思。同样是千言万语化作几句寒暄，同样是一个聒噪的第三者打破气氛，经过前面的铺垫，最后临别时肩头的一按，力量比一个吻还要重。结尾时特芮丝寻找卡罗尔的段落是一个比较好的情绪出口，避免了被打断的对话而带来的不安感，“众里寻她千百度”，最后找到了，啪，停。干净利落，不说废话。
最后总结就是，我个人认为，整部影片的叙事镜头表演都拿捏得恰到好处，简洁，克制，不留余地，也没有在题材上故弄玄虚，自命不凡，但是“同性”作为主题的核心基本没有体现出来，是一部比较纯粹的爱情电影。
然而刚看完以后那种压抑又兴奋，掺杂着感动的情绪并没有持续太久，取而代之的是一种失落感，失落的是这样一部令人期待的题材和电影，仍走不出以往同性爱情电影中话题与共鸣之间无法平衡的怪圈：如果不是因为同性，她们的爱情故事未免流于俗套，而过分强调同性，又削弱了主角之间感情的纯粹与真诚。也许在这类影片中寻找“深刻的社会属性”本身就是一种过度诠释，但不可否认的是，类似的同性题材在近些年的电影节当中可谓赚足了眼球。一方面利用同性题材的敏感性先入为主的抬高立意，一方面却对同性恋在社会中所受到的阻力避而不谈，这绝不是创作者的本意。说到底，可能因为敏感的并不是同性题材，而是我们观众自己。
故事背景在托德·海因斯擅长的五六十年代，低饱和的红绿色调，大萧条后的纽约街头，圣诞之前的寒冷天气，无一不营造了一种绝望的氛围，仿佛在这种绝望之中任何人与任何人相爱都是顺理成章。片头使用倒叙，先插补了一段结尾时两人分手又重逢的感情戏，加以铺垫，一边钓足了观众的胃口，一边在结构上弥补了两个人相爱时的前戏不足。特芮丝先于卡罗尔出场，交代了她商店营业员的职业和圣诞节前夕的时间背景，然后就是主角卡罗尔出场了，一个不知道该给自己的孩子买什么礼物的贵妇。这一段的可贵之处在于在某种程度上打破了同性题材中必须“一攻一受”的思维模式，虽然卡罗尔穿着奢华的貂皮大衣，而特芮丝只是个营业员，但此时需要帮助的是前者。她试图在商店里点烟而被制止的尴尬，不知道买什么礼物给孩子时的手足无措，无疑使她在这时处于相对的弱势，即使从她的眼神中我们感到，这有可能是她把妹的一种惯用手段。短暂的相识使得主动权来到了特芮丝手中，似乎在这场游戏中她不是卡罗尔的猎物，而是一个她想接近却又不敢试探的对象。那对遗留在柜台上的手套到底是卡罗尔的诱饵，还是特芮丝主动出击的猎枪，都是值得玩味的小细节。
虽然俩人好得很快，但胜在点滴入微，从家宴到送相机，从旅行到上床，水到渠成。丈夫（前夫）作为两人爱情的主要破坏者可能是一些人认为影片不够激进的原因之一，因为这个角色主要是一个受害者的形象，甚至可以说是一个可怜的人。但正是这种不左不右的态度使得这部片子没有过分强调性别意识和同性恋在社会舆论中的地位，而是把重心放在了两人的感情本身上，这种处理方式比同样题材尖锐的《远离天堂》显得还要高明一些。试想一下，如果一开始就在两人亲密出游时补一些男人们议论纷纷的镜头，或者借男人之口对特芮丝的冷淡加以点评，那么无疑把对两性意识形态的描写提上去了，但品位一下就low了，变成了另一种自以为是的“政治正确癌”，不好。但正是这种在两性题材上非常克制的把控，使得影片的高潮显得不够刺激和煽动（当然，如果把床戏当做高潮的话那就够了）。丈夫雇佣的私家侦探录下了两人的性爱音频，这本是一桩现在看来都非常严重的侵犯，但这么做的目的不是扳倒卡罗尔的社会地位，毁掉她的人生前途，而是为了在离婚诉讼中抢夺孩子的抚养权。虽然同样作为一个母亲我非常理解丧失抚养权对这个角色的意义，但是放到通篇中看，仅仅把离婚诉讼作为戏剧冲突中最大的“障碍”使得这一段的情绪爆发显得有些张力不足。
判断同性之爱在主题中是否重要的一个简单方法就是问一个问题：如果把特芮丝的角色换成男性，那个故事成立吗？答案是不仅成立，而且异常合理。但故事就变成了一桩我们熟悉的婚外情始末，一则单纯的爱情小品。
另外补充就是卡罗尔的闺蜜这个角色，前史过多，交代不清，作为情节的润滑剂很好使，台词帮助镜头丰满了卡罗尔这个人物，但是过于分散注意力，我觉得反而是删掉比较好。
开头和结尾的重逢段落是我非常喜欢的，文学性很强，凯特和鲁尼表演也是教科书般的走心，与这一段相似的是《相见恨晚》中的车站离别，不知海因斯是否有致敬的意思。同样是千言万语化作几句寒暄，同样是一个聒噪的第三者打破气氛，经过前面的铺垫，最后临别时肩头的一按，力量比一个吻还要重。结尾时特芮丝寻找卡罗尔的段落是一个比较好的情绪出口，避免了被打断的对话而带来的不安感，“众里寻她千百度”，最后找到了，啪，停。干净利落，不说废话。
最后总结就是，我个人认为，整部影片的叙事镜头表演都拿捏得恰到好处，简洁，克制，不留余地，也没有在题材上故弄玄虚，自命不凡，但是“同性”作为主题的核心基本没有体现出来，是一部比较纯粹的爱情电影。
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》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。
----
附上非官方的原声，听吧，你会沉醉的。
http://pan.baidu.com/s/1bnfMneB
----
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。
----
附上非官方的原声，听吧，你会沉醉的。
http://pan.baidu.com/s/1bnfMneB
----
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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6 ) 无关男女，谁不想要一个Carol这样的情人呢？|一刷瞎YY
又名：如果你在喜欢的人面前装过逼，你就会懂得carol的眼神
主创们说，这是一部跨越了性别、年龄和阶级的爱情电影。
迷妹们说，这是一部大魔王撩完直女撩弯男的电影，耳朵会怀孕。
爱过的人说，如果你也在19岁的年纪那样爱过一个人，你就会懂Theresa看Carol的眼神。这是最美的爱情电影。
有个害羞闷骚的朋友，在撸完Carol后半夜出线在微信群，用生无可恋的声音说：”carol~真的~好~好~看~啊，我哭了一个小时。”末了还加了一句：”我觉得鲁尼奥斯卡影后拿到了”
我们调侃道：所以你爱过。
实在忍不住对鲁尼痴汉眼神和凯特撩妹传说的好奇，终于去撸了DVD版。结果证明我并未爱过，所以没能泪目一个小时。但是这仍然是一个很美的作品。由于并没有那么幸运深爱过一个人没法对Theresa产生深刻的情感共鸣，但忍不住想要从细处说说Carol这个角色。
关于撩妹
陆续看到评论说，凯特在片中，很用力的撩妹，甚至有点过于强势了。结果看到成片反而让我有点失望。因为我已经被大魔王撩了很多年，carol这个角色并不显得更高阶。这次如此突出，重点可能并不在于撩的功力，而在于撩的对象，是个妹而已。
这是一部跨越性别、年龄和阶级的电影。
年龄和阶级，或许才是Carol如此”撩人”和强势的原因。年龄和阶级在Carol身上如何刻画体现的呢？
以感谢的名义，假装正经非常客气的邀请Therese共进午餐；订了Theresa工作附近的餐厅，可以不看菜单点餐。与之对照的是Theresa并不知道这家附近的餐厅，点餐也是完全复制Carol的选择。
这些细节还包括，在情绪崩溃之后，带上墨镜神情自若的步入阳光，放佛心情和白花花的冬日阳光一样慵懒平静；在发出同居邀请的时候，非常自然的说出，也许你已经不愿意；在说了I love u之后，并不强求一个回应，而是礼貌的将Therese交给突然打断对话的男士，并希望他们晚上玩的愉快，哪怕carol其实希望晚上Therese去找自己；在Therese犹疑动摇，意识到carol要走，急切的问出”are you sure”之后，还礼貌得体的表示，自己晚餐前还要打几个电话，立刻起身走人。
当然也包括，在最为人赞叹的最后一场戏，一眼万年。随着Theresa的目光，我们可以看到Carol仍然魅力十足，她让然会微微歪头，颔首，微笑，指尖优雅的夹着香烟——哪怕对面并不是坐的Theresa。
相对于大家调侃的大魔王心机颇深，吃定小白兔，我更愿意将carol的行为归为她的年龄阅历和社会阶层。Carol的行为，很大程度来自于长期的社交法则。
哪怕是到了今天，在稍微正式的社交场合，也有无数像carol一样的人在有意无意散发这样的撩人信号，说到底，让别人被自己吸引，产生好感，就是社交的目的，不是吗？
所以，越是成熟和所谓有身份的人，越charming。这不也是Therese会对carol产生crush的原因之一么？
当然，在众人中，Theresa是特别和不同的。
不知道有没有人注意到，在Carol和Therese第一次午餐的时候，carol的body language：在询问对方是否愿意去自己家做客的时候，carol的头微微摆动，手指夹着烟在晃动，眼神漂移，直到问完等待答案的时候，才抬起眼睛看向Theresa
这是单纯的撩么？不，这更像是标准的”若无其事云淡风轻的邀请一个人其实内心很忐忑。”
如果你在喜欢的人面前装过X，那你一定能懂此时的Carol。
Carol和Theresa这段关系的可贵，并不止步于跨越了年龄和阶级的心动。
我并没有看原著，听看过的小伙伴说，原著里carol的丈夫是个控制狂。虽然电影里着墨不多，但是也可以看出哈吉的控制欲。在取得carol认可前提前安排好了需要carol参加的家宴，以女儿为筹码绑架carol进行家庭旅行，以女儿为筹码要求carol维持婚姻；雇私家侦探跟踪carol和Theresa。
而carol呢，她是一个自我意识非常强烈的人。她对Abby自责自己影响carol争夺抚养权的时候说，don’t you dare，她在Theresa不确信自己目标的时候说：是否有天赋是别人说了算，我们可以做的只是不断去努力；在Theresa自责的时候说：这不是你的错；在和丈夫撕破脸的时候说，我曾经为了和女儿在一起，把她关在房间里，然而我发现这对她并无益处。如果我都不能过自己想要的生活，我不知道还能给她什么。
抛却Abby和Theresa，carol和丈夫的婚姻也必然悲剧。因为这个男人虽然爱carol，却控制欲非常强，对形式的执着远大于心灵的契合。
与其说，carol在女儿和Theresa之间选择了Theresa，还不如说，她选择了忠于自己。在对丈夫进行最后的谈判时，她选的是自己想要的生活，并不是说，选择Theresa。
也因为carol是一个自主意识非常强的人。所以她鼓励Theresa追求自己的目标，圣诞礼物是相机而不是小火车，为Theresa自信路过的背影而震动，为Theresa离开她后的成熟而欣喜。
非常认同一种说法，Carol其实是Theresa将来想要成为的样子，代表了Theresa对自己期望的投射。在Carol和Theresa的这段关系里，Carol选择了忠于自己，而Theresa走向了成熟。这难道不是远比『我不管我爱你你爱我我们相爱就是全世界』更令人振奋吗？
据看原著的小伙伴说，原著里通篇是Theresa的脑洞，对Carol其实很少具体描述。是什么人担得起Theresa如此的迷恋呢？
主创给了答案，这不仅是一个漂亮有钱的中年女人。她有主见，体贴，Hold住一切，懂得尊重，爱人，也有自己的骄傲。当她想要爱，并不乞求，而是正式的发出邀请，然而同时考虑到拒绝的可能性，并不理所当然的强迫对方服从，也不以自我为中心（丈夫哈吉）。如果你来了，是因为你对我的爱，而不是因为我强求。
可以说，电影里的Carol，投射了以妇女之友托德海因斯为代表的主创们对理想女性的一切寄托。
这个世界上，幸运的人做过Theresa，少数人成为了Carol。而谁又不想要Carol呢？
主创们说，这是一部跨越了性别、年龄和阶级的爱情电影。
迷妹们说，这是一部大魔王撩完直女撩弯男的电影，耳朵会怀孕。
爱过的人说，如果你也在19岁的年纪那样爱过一个人，你就会懂Theresa看Carol的眼神。这是最美的爱情电影。
有个害羞闷骚的朋友，在撸完Carol后半夜出线在微信群，用生无可恋的声音说：”carol~真的~好~好~看~啊，我哭了一个小时。”末了还加了一句：”我觉得鲁尼奥斯卡影后拿到了”
我们调侃道：所以你爱过。
实在忍不住对鲁尼痴汉眼神和凯特撩妹传说的好奇，终于去撸了DVD版。结果证明我并未爱过，所以没能泪目一个小时。但是这仍然是一个很美的作品。由于并没有那么幸运深爱过一个人没法对Theresa产生深刻的情感共鸣，但忍不住想要从细处说说Carol这个角色。
关于撩妹
陆续看到评论说，凯特在片中，很用力的撩妹，甚至有点过于强势了。结果看到成片反而让我有点失望。因为我已经被大魔王撩了很多年，carol这个角色并不显得更高阶。这次如此突出，重点可能并不在于撩的功力，而在于撩的对象，是个妹而已。
这是一部跨越性别、年龄和阶级的电影。
年龄和阶级，或许才是Carol如此”撩人”和强势的原因。年龄和阶级在Carol身上如何刻画体现的呢？
以感谢的名义，假装正经非常客气的邀请Therese共进午餐；订了Theresa工作附近的餐厅，可以不看菜单点餐。与之对照的是Theresa并不知道这家附近的餐厅，点餐也是完全复制Carol的选择。
这些细节还包括，在情绪崩溃之后，带上墨镜神情自若的步入阳光，放佛心情和白花花的冬日阳光一样慵懒平静；在发出同居邀请的时候，非常自然的说出，也许你已经不愿意；在说了I love u之后，并不强求一个回应，而是礼貌的将Therese交给突然打断对话的男士，并希望他们晚上玩的愉快，哪怕carol其实希望晚上Therese去找自己；在Therese犹疑动摇，意识到carol要走，急切的问出”are you sure”之后，还礼貌得体的表示，自己晚餐前还要打几个电话，立刻起身走人。
当然也包括，在最为人赞叹的最后一场戏，一眼万年。随着Theresa的目光，我们可以看到Carol仍然魅力十足，她让然会微微歪头，颔首，微笑，指尖优雅的夹着香烟——哪怕对面并不是坐的Theresa。
相对于大家调侃的大魔王心机颇深，吃定小白兔，我更愿意将carol的行为归为她的年龄阅历和社会阶层。Carol的行为，很大程度来自于长期的社交法则。
哪怕是到了今天，在稍微正式的社交场合，也有无数像carol一样的人在有意无意散发这样的撩人信号，说到底，让别人被自己吸引，产生好感，就是社交的目的，不是吗？
所以，越是成熟和所谓有身份的人，越charming。这不也是Therese会对carol产生crush的原因之一么？
当然，在众人中，Theresa是特别和不同的。
不知道有没有人注意到，在Carol和Therese第一次午餐的时候，carol的body language：在询问对方是否愿意去自己家做客的时候，carol的头微微摆动，手指夹着烟在晃动，眼神漂移，直到问完等待答案的时候，才抬起眼睛看向Theresa
这是单纯的撩么？不，这更像是标准的”若无其事云淡风轻的邀请一个人其实内心很忐忑。”
如果你在喜欢的人面前装过X，那你一定能懂此时的Carol。
Carol和Theresa这段关系的可贵，并不止步于跨越了年龄和阶级的心动。
我并没有看原著，听看过的小伙伴说，原著里carol的丈夫是个控制狂。虽然电影里着墨不多，但是也可以看出哈吉的控制欲。在取得carol认可前提前安排好了需要carol参加的家宴，以女儿为筹码绑架carol进行家庭旅行，以女儿为筹码要求carol维持婚姻；雇私家侦探跟踪carol和Theresa。
而carol呢，她是一个自我意识非常强烈的人。她对Abby自责自己影响carol争夺抚养权的时候说，don’t you dare，她在Theresa不确信自己目标的时候说：是否有天赋是别人说了算，我们可以做的只是不断去努力；在Theresa自责的时候说：这不是你的错；在和丈夫撕破脸的时候说，我曾经为了和女儿在一起，把她关在房间里，然而我发现这对她并无益处。如果我都不能过自己想要的生活，我不知道还能给她什么。
抛却Abby和Theresa，carol和丈夫的婚姻也必然悲剧。因为这个男人虽然爱carol，却控制欲非常强，对形式的执着远大于心灵的契合。
与其说，carol在女儿和Theresa之间选择了Theresa，还不如说，她选择了忠于自己。在对丈夫进行最后的谈判时，她选的是自己想要的生活，并不是说，选择Theresa。
也因为carol是一个自主意识非常强的人。所以她鼓励Theresa追求自己的目标，圣诞礼物是相机而不是小火车，为Theresa自信路过的背影而震动，为Theresa离开她后的成熟而欣喜。
非常认同一种说法，Carol其实是Theresa将来想要成为的样子，代表了Theresa对自己期望的投射。在Carol和Theresa的这段关系里，Carol选择了忠于自己，而Theresa走向了成熟。这难道不是远比『我不管我爱你你爱我我们相爱就是全世界』更令人振奋吗？
据看原著的小伙伴说，原著里通篇是Theresa的脑洞，对Carol其实很少具体描述。是什么人担得起Theresa如此的迷恋呢？
主创给了答案，这不仅是一个漂亮有钱的中年女人。她有主见，体贴，Hold住一切，懂得尊重，爱人，也有自己的骄傲。当她想要爱，并不乞求，而是正式的发出邀请，然而同时考虑到拒绝的可能性，并不理所当然的强迫对方服从，也不以自我为中心（丈夫哈吉）。如果你来了，是因为你对我的爱，而不是因为我强求。
可以说，电影里的Carol，投射了以妇女之友托德海因斯为代表的主创们对理想女性的一切寄托。
这个世界上，幸运的人做过Theresa，少数人成为了Carol。而谁又不想要Carol呢？
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。
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。
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。
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。
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。
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。
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。
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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。
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。
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。
“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
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
已经闻到拿奖的气息了
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。
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。
比《断背山》差了五个《阿黛尔的生活》，就酱紫
直男恋爱教学篇 送相机请附带胶卷好嘛
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。★★★★