Kali This is my favorite queer romance movie. The acting was amazing; I love both Cate Blanchett and Rooney Mara. They both were able to portray their characters in such a raw, authentic, beautiful way. You could tell that they both understood the story and their characters. The relationship between the two women was so tender and honest. Even though it is a story about two women falling in love, I do not think you need to be queer to like this movie. I also appreciated how subtle the film is. There is so much meaning in just a look or a touch. I thought it was even more meaningful than there being tons of dialogue because at that time there wasn't as much language around being LGBTQ+ like there is now. It made the dialogue all the more meaningful when they did speak. It really did feel like this movie could have been shot in the 1950's. I loved the cinematography and that they shot on real film. It really adds to the beauty and artistic nature of the film. I admire that how they filmed it made it so that you could see both of the characters points of view. I think this was very important so that you connect to both of the characters. In the novel by Patricia Highsmith called, A Price of Salt, it's all from Therese's point of view. Carol ends up being more of an object that Therese is infatuated with, rather than a real person. I enjoyed that they changed that; I think it makes the relationship and characters more authentic. I also loved that it ended on an optimistic note and that none of the queer characters were killed or portrayed as crazy. I would say that it's definitely a movie that you kind of have to understand how women and LGBTQ+ people were treated in the 1950's, otherwise you may not understand the characters or the story as deeply. It's also not a film for people who don't like subtly or who need a fast pace, action movie. This is not going to be that. I could say a lot about this film, but I think you should just give it a try. I'd certainly recommend it. You can watch it on Netflix or rent/buy it on Amazon.

bananamilkstan I think they were drawn to each other the first time they met in the store, the first moment their eyes caught, Therese was behooved. And it shows that carol was attracted to her when she started asking her personal questions. Like "what did you want when you were 4?" And it seems like no one asks Therese these kind of questions judging by the way her eyes refused to meet carol's. Carol was eyeing Therese every moment she could get just to savior her, or rather, the moment. And she wanted to see her more. So I think she left her gloves there on purpose just as an excuse to see her again. When they went out for lunch, their chemistry is so well after only a few minutes of conversation, Carol was so willing to know about Therese. you could tell that carol was kind of suspicious of Therese's sexuality when she said that she was a. "Very strange girl". And that she was "out of this world". After that, they show a scene where Therese writes Carols name and when she first met her. I think that means that she likes would like to remember her.that moment where she went to the Times office with her friend, and when they were talking about attractions, I think that opened her mind a bit. You can't help but think that they've shared a pretty special moment in the car, and Therese would probably think that she REALLY wants to capture carol, not just her beauty, but her kindness, along the fact that she's the first person she ever takes a picture of, she's that special to her already . And when they're back home, she can't help but think that she's also a good mother. When Therese's playing the piano and carol comes and just puts her hands on her shoulder, She becomes a little tense, it's either she's realizing her attraction or no one has touched her that gently before. She gets flustered whenever carol asks her personal questions.She witnesses the fight that happens outside between harge and carol and she just highers the volume, respecting their privacy.When she's taking Therese back to the station in the car, you can see how miserable carol looks. And how helpless Therese feels, therefore she cries in the train because she just feels like it's her fault, that she wants to make carol feel better and all.

Brigid O Sullivan (wisewebwoman) For a film about the "love that dare not speak its name" it has a deadened, passionless air to it.I never bought the love/emotion/desperation between Therese and Carol, played by Rooney Mara and Cate Blanchett. From the first scene in the department store where Therese worked, I viewed Carol's interest as repulsively predatory and it would have been if the part of Carol was played by a middle aged man.Down to the "erotic" scene in the hotel, which again was lifeless and uninspiring and well, boring, the whole film had a coldness to it, down to the limp dry hair of the main characters: wigs, I would guess.Carol never comes across as a concerned mother, yes she grabs and hugs her kid a lot but does not engage in any meaningful way with her.The cinematography was well done, the 50s scenes for the most part believable.But for a film about passion and undying love, no, this didn't work for me.3 out of 10.

sol- Romance blossoms between a wealthy, middle aged woman and an open-minded younger woman in this lusciously filmed drama set during the 1950s. While both Cate Blanchett and Rooney Mara are effective in their respective roles, the most interesting aspect of 'Carol' is the near ignorance of everyone else to the possibility of the pair being in love. More than half an hour passes before Blanchett's husband questions how Mara knows her and director Todd Haynes does wonders keeping the mutual attraction between the pair subtle. Much is communicated simply through looks and stares without the need for explicit romantic moments or obvious dialogue. This subdued approach in turns makes Blanchett's more emotional moments in the second half of the film more powerful as she comes against a "morality clause" in her impending divorce proceedings. Certain aspects of both female protagonists are left uncomfortably murky - most notably, the suggestion that Blanchett might have a history of seducing younger women. Both characters are generally well fleshed out though as they are torn between the hearts' desires and being what everyone else expects them to be. Carter Burwell provides an enchanting music score that perfectly complements the proceedings and the memorable final scene is a testament to the ability of images to convey more than words.