Carol ★★★★★

After the film, a group of us were discussing which we prefer: Carol, the film, or The Price of Salt, the book. I think for me it's the film every time because of body language. The film opens with Carol and Therese at a dinner table when Therese's male friend recognizes her. He places his hand on her shoulder in a meaningless, platonic matter, a touch that feels insensitive and rough when it is followed by Carol's hand on her shoulder later—aching, almost forbidden, and... soft. There's hardly a difference to an unknowing eye, but it's all in the way Therese’s gaze lingers at Carol's touch. Haynes flirts with the idea of a hand touch in subtle ways throughout: Carol's gloves left behind at the department store, her touching Therese's shoulders while she plays the piano, putting perfume on their pulse points, and the first time Carol disrobes Therese, standing behind her at the vanity, her soft hand traveling down her robe. Even their words, either unspoken or minimal, are softly formed and softly spoken, once again offset by the words of the male characters (namely the nagging Richard and the loud, barking Harge).


35mm. Metrograph.

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