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----
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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「Carol就像她身上的秘密,扩散到整座房子里;也像一道光,只有她才看得见,别人都看不见。」
——《盐的代价》
一直想为这部电影写些感想,因为它留给我的余韵实在太长,我很少在短时间内把一部电影看两遍,而Carol就是这样的电影,在细节上充满惊喜,第一次看并不一定能察觉的,第二次或许就能挖掘出来。这部片子没有太多的对白跟剧情,节奏缓慢,全片着重在两位主角的神韵交流和肢体动作上,运用了大量的电影语言等待观众发现。以及,如果更细心观察的话,你会看见这部描绘1950年代的电影里处处是导演的巧思,每一帧画面、配乐、镜头、服饰、摆设都有意涵,节奏控制在两个小时以内,并没有哪一分哪一秒被浪费掉。
在电影一开场画面还未出来之时,可以清楚听到火车驶过轨道的声音,交通工具在Carol里有其特殊意义,例如火车象征追寻「自由」,Theres和Carol第一次见面,Theses就表示自己喜爱火车,不爱娃娃,而娃娃有另一层意涵,对女性的物化以及任人摆布。而火车也意味著兜转了一圈必然回归原点,所以影片首尾呼应。第二种交通工具是计程车,当Carol坐在计程车上时,隔着车窗望着过马路的Theres离自己越来越远,以及Therese在离开茶叙之后,看到相似Carol的妇人而触景生情,计程车是「错过」的象征。第三种交通工具真正串连起两个人,就是Carol开的小客车,两人的一趟公路之旅从纽约州(纽泽西)开到爱荷华州(滑铁卢)将近1600公里,小客车在此处就是「亲密」的象征,这个空间既私密又无旁人,给予两人极大的安全感,因此剧中许多重要的情绪表达都在车上发生,例如经过林肯隧道时,Theres难掩深情、近乎痴汉的望着Carol,照原著小说的描写Theres几乎是「恨不得隧道崩塌,让两人死在一起」,又例如Carol跟Harge争执完后载Theres去车站,车上的两人几乎快要崩溃,之后像是Carol感伤的想起女儿然后为一旁熟睡的Theres盖被,Theres在车上大口吃苹果、天气转暖时Theres帮正在开车的Carol脱下大衣,以及滑铁卢事件之后,Theres在车上内疚的大哭,都可以显现出小客车空间的重要性。
电影虽然没有太多对白,但是充分运用了五感:视觉、听觉、触觉、嗅觉、味觉。用痴汉Theres的观点来说就是:Carol好美、Carol的声音好好听、Carol碰的我浑身酥麻、Carol的香水好香、跟Carol在一起时我胃口很好。这是多么细腻的描写,爱一个人就是全神贯注,仿佛所有的感官都为他而生,因此当某些人说这部电影美的太不真实时,我并不同意这样的看法,因为陷在爱情中的人眼里的一切就是那么美,这样反到真实。剧中也大量运用镜子、玻璃、车窗来呈现人物画面,这些当然都是有意义的,例如镜子反映内心,玻璃象征迷茫,从车窗望去的人影则是可望不可得。
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Carol小說封面向Edward Hopper致敬
电影主要配乐Opening传达给我的感觉是清冷、寂寥、干净、纯粹,有点像是Edward Hopper画作的音乐版,也许因为故事主线发生在圣诞节前后,同时有一种冰雪待融的味道和隐隐约约的忧伤、无奈,就像两位主角的感情,是那样克制又压抑,但音乐最末出现转折似的放缓,像是留下希望的伏笔,导演在剧情上也是类似的处理手法,平淡底下藏着波涛汹涌,只有两位主角和观众才知会。而正当你以为压抑到极限会来一场大爆发的时候,感情来的却是那么不温不火,不狗血也不无趣,导演抓到了一个很好的情绪平衡点,而两位演员的表现更是让人赞叹,这样的片子如果没有高超的演技和默契是无法驾驭的,所以后来的床戏是那么的自然又令人感动吧。
说到第一场床戏,那是整个电影院最安静的时候,没有交谈、没有咳嗽、没有吃食的声响,所有人静谧的像宇宙,我甚至能感受到后排的人在屏气凝神,不愿意错过任何一个影格,因为Carol和Theres两人之间的情欲交流实在太美,大概是我看过最美的床戏,这里又要夸赞Todd Haynes一番,幸好他没有直男式的审美,许多传统导演的床戏往往拍的情色甚至猥亵,但Carol完全不会给我这种感觉,我所看见的只是爱情。
有些人会说换成异性恋这不过就是个寻常故事,对,但这部电影本来就不是在描绘传统异性恋的爱情(我亦不会把Carol归类为同性之爱,它就是因爱而爱),如果Carol换成中年男性在解裤腰带,估计Therese就要变成龙纹身的女孩了,而那搭在Theres肩上的纤细双手也变成了咸猪手,你看观众会不会杀了导演。
第二场床戏是悲伤的,是离别前的预告,不过其实这场戏是Cate跟Rooney的第一场对手戏,导演表示目的是让两个演员破冰,及早培养默契,所以可以看见这场床戏的Rooney满脸通红到耳根,第一次跟偶像演戏就是热吻(13岁起的偶像),还真是难为Rooney了。
做为Therese女神的Carol由Cate来饰演真的再适合不过,我无法想像第二人选,任何的角色到到Cate手上都是行云流水,演魔比魔更魔,演仙比仙还仙,从伊莉沙白到精灵女王都是无法超越的经典,他不只能演攻,在《丑闻笔记》里也演过柔弱的守。话说Cate和Todd第一次合作就是饰演Bob Dylan,他是六位Bob Dylan扮演者中唯一的女性,却是最像Bob Dylan的一位,Cate的成功便是没有一个他所扮演的角色会让人想起那是Cate Blanchett,而这正是许多演员做不到的,让所饰演的角色真正独立存在。
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不过给我更多惊奇的是Rooney,在这部电影之前我完全不知道他是谁,那个让他一炮而红获得奥斯卡最佳女主角提名的《龙纹身的女孩》,我是在看完Carol后才接着看,简直不敢相信两个巨大反差的角色是同一人,从甜美可人转向反社会黑暗人格难度已经够高,饰演过Lisbeth Salander后还能饰演回纯真的Therese更是不可思议。剧中Carol对Therese的形容我倒是觉得很符合Rooney本身的气质:「奇怪的女孩,像是天外来客/犹在天外」(What a strange girl you are, flung out of space.)。
Therese跟Carol若要说共通点,那就是都有神秘感,但Carol的神秘是一种历练和岁月久经的智慧,Carol到哪都会是全场焦点,他也能轻松的驾驭周遭,他的神秘感是拥有看穿一切的能力,而旁人却猜不透他;但Therese的神秘感却是先天的自外于人,他不在意周遭的看法,他的神秘感也包含了对自己的不了解,而他无意解开,就像他无意了解周遭,剧中跨年夜的告白很能说明这个迹象:「我总是独自一个人,在人群中」。
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演員Rooney Mara本身就带有自外于人群的气质
关于神秘感这个部分,其实把Therese跟Carol换成Rooney跟Cate也一样说得通,这是我看完Carol的几个访谈后的感想。演员跟所饰演的角色性格往往是有差距的,但演员赋予角色的气质却多半是自身拥有的,说到其中一个访谈里Cate对Rooney有如下的描述,我觉得很是精准:「许多人尝试形容Rooney独有的特质,不外乎说是神秘,我的确明白他们的意思,在Rooney安静的外表下,藏着静水流深的智慧,但他实际上的工作方式、他的优雅,以及他作为一名演员所做出的选择,又让他有一种相当纯粹的澄澈,你们会说澄澈和神秘是奇怪的组合,但就是这样」。
Rooney的个人特点是能让两种看似矛盾的特质同时存在(清澈又神秘,时尚又古典),他所饰演的Theres虽然因为纯真无辜而被戏称为小白兔,但在Carol跟丈夫Harge争执的那场戏里,我好像看见了雷普利(The Talented Mr. Ripley)的影子,Theres这个表情仿佛在说「我愿意帮Carol『处理』掉Harge」,如果剧情真照那样发展也挺Highsmith式的(笑)。 Therese这个角色本身就是作者Highsmith的化身,Highsmith可是悬疑犯罪小说见长的,他怎么可能真的那么无邪。再提到有趣的一点,编剧Phyllis Nagy是Highsmith的忘年之交,他表示在片场暗暗观察Rooney时,Rooney的许多动作和气质令他想起了Highsmith。
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外显上Carol强势而Therese柔弱,但不安全感其实都是由Carol承担,相反地,Therese反而有一种初生之犊不畏虎的勇气。 Carol要面对亲情和爱情的艰难选择,甚至为此吃上官司,还必须看心理医生来矫正性向(挺感谢电影把这一部分淡化);而Therese的困扰则是无关社会压力,只是他个人对于这段感情的疑惑,他面对女神时的不自信和不确定,他的世界里只有Carol,但Carol的世界里却不只是Therese。所以Abby这个最重要的配角就是凸显Carol和Therese的距离,Carol从来只找Abby求助,更加显现Therese在他心中只是个未经世事的小孩,Therese太年轻也正是造成他们关系脆弱、不平衡的原因之一。 Therese虽然想摆脱被照顾者的角色,却力不从心,唯一成功的一次保护是发现Carol带枪后,两人从两间房变一间房;两张床变一张床。
所以后来的分手桥段是如此的必要,这正是让Therese加速成长的关键,Therese曾说:「我从来不懂得拒绝,我又怎么能知道自己真正要的是什么」,其实Therese到是挺会拒绝的,拒绝了男友的欧洲旅行邀约、拒绝了男友的求婚、拒绝了好友Danny的吻,唯独对Carol的要求无法拒绝,他心甘情愿成为Carol的猎物,但也造成两人无法成为互相扶持的伴侣,Therese在公路旅行中似乎也感受到这一点而为之困扰,Carol一直担任司机(照顾者、引领者)便是两人关系不平等的隐喻。 Therese太像是Carol的第二个女儿,而Carol如果被迫在两个女儿之间二选一,那Therese肯定输给Rindy。回想起Therese在Carol家时,明明身为客人却帮忙准备茶点,除了凸显两人的阶级差异之外,应该也有这样一份含义。
第二晚的缠绵之后,Therese在疲惫中醒来,已不见爱人的存在,赶忙来收拾烂摊子的是Abby,Therese从床上起身而坐,棉被紧掩着一丝不挂的身体,此时的神色尽是被始乱终弃的难堪(Carol你这个渣男)。跟Abby一起吃早餐,但Theres平时的好胃口(欲望)已然随着Carol的消失而消失,此处再给Rooney神一样的演技一个赞叹,只有几句台词,眼神却道尽了所有委屈跟憔悴。这应该是剧中Therese最痛苦的时候,但就和整场戏一样,人物的情绪表现依旧收敛,我原本以为Todd是借此表现50年代的低调与压抑,但后来想想不只是如此,许多导演在处理女性角色的情绪时,往往落入父权刻板印象,把女性描绘的歇斯底里,而Todd想展现的女性是坚毅、优雅又理性的,在遭逢打击时特别如是。对照本剧的男性角色,除了Danny之外,不外乎是蛮横(Harge)、鲁莽(Jack)、愚蠢(Richard)甚至猥琐的(私家侦探)。
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无论如何,那只被爱人甩了的兔子开始有所转变,换了工作,如愿朝兴趣发展、离开男友,不再迁就、经济条件改善,摆脱学生造型,在社会条件上开始像个「大人」 。同一个时间点,Carol在前往律师与前夫会面的路上,透过计程车的车窗望见了许久不见的Therese,眼里尽是渴望的Carol再也不能假装不在意,他开始明白自己始终要的是什么,所以后来与前夫会面时,他终于愿意对女儿放手,表示自己快乐,女儿才可能快乐,这一段的Carol既脆弱又坚强的让人心疼。这里甚至在众人面前做了出柜宣言:「我不否定录音带里的内容」、「我不会否认这段感情」,对于前夫更是歉疚的表示:没能给你幸福我很抱歉,但我希望你幸福,而我也想光明的追求自己的幸福。
于是有了后来的茶叙,Carol依旧是晚到那一位,但Therese已不是开头那个殷切的望着窗外寻找Carol身影的单纯女孩,他带着戒备,已不甘于做为猎物。 Therese这时的扮相实在是太像Audrey Hepburn,有点好奇造型师当时在想什么,但我想说干的好,赏心悦目之外,也显现了Rooney的可塑性之高。虽说演员终究是他们自己,但Rooney跟Audrey Hepburn却有几分相似,这让我想起另一位演技派Natalie Portman,也常被喻为Hepburn,如果说Natalie是知性与平易近人的Hepburn,那么Rooney就是神秘与空灵的Hepburn。
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在压抑、束缚的50年代,公共场所抽烟反而显得自由,电影中的抽烟场景多不胜数,香烟在此处有一种女性情欲自主的味道,电影里的男性角色都没有抽烟的镜头。因此当Carol和Therese再度见面之时,就像他们第一次吃饭,Carol又一次询问是否抽烟,只是这一次Therese断然拒绝,除了表示自己已学会说不,在两人的关系之中不再处于下风之外,同时也暗示Therese做出了违心之论,所以接着面对Carol的同居邀约,Therese又做出了一个No,Carol受到不小的打击,难掩失望,但毕竟自己抛弃Therese在先,Therese的拒绝也是合情合理。 Carol又一次示软,表示自己九点在某地还有晚餐,问Therese愿不愿意来,Therese沉默已示,Carol终于忍不住放了大绝,深情的说出了那三个字:I love you。
然而冒失鬼Jack的出现打断了Therese做出回应的可能,此处又接回电影开头,一切就像Carol信中所说Everything comes full circle. 现在观众知道一开场时,那看似平凡的聚餐对两人是何等重要、底下藏着多少情绪了,Jack一句简单的问候,就把两人脆弱的爱情打回原点,真是千古罪人。再给导演一个赞,能够把平凡的事物拍的不平凡,需要深厚的功力和超出常人的细心,而这向来不是习惯快餐的好莱坞电影风格,但正是因为这样的平凡,才更贴近你我的生活日常,我们都可能成为Carol或Therese,我们都是大时代里的小人物,主角们要面对的课题我们或也有一天需要面对。
Jack的介入迫使Carol及早离场,留下一句别有意味的:「你俩玩的愉快」,此时的特写全都留给Therese一人,Therese的心思还停留在Carol的深情告白里,而全戏最经典的触碰跟眼神在这里出现,Carol的手搭上Therese的肩,接着轻轻一按,Therese情不自禁的闭上双眼,这短短的几秒,整个世界在他的内心翻转不已,直到Carol离去之后,他才懊悔的开始寻找爱人身影。 Rooney高超的演技让无声胜有声,所有的挣扎与深情全在眼神里,做为观众的我的心情也很自然的随着Therese起伏和纠结。
Therese离开饭店后并没有马上去找Carol,朦胧的车窗再次暗示了角色内心的迷惘,像是为了确认刚才不是被一时的迷恋冲昏头,Therese前往了朋友举办的派对,却只感觉到自己的格格不入,拒绝了新的追求者后,躲进厕所抽烟的他意识到了自己要的是Carol,于是离开派对,在夜色下招了车便前往Carol所在的餐厅,火车的声音再度出现,仿佛Therese进行了一场冒险,旅程结束,火车将Therese带回Carol身边,成为一个圆。不顾柜台领班的要求,Therese径自走进餐厅寻人,呼应两人初识的百货也是在人群中,不同的是这一次Therese学会了主动追寻,心爱的Carol终于现身在人群里,依旧优雅美丽,配乐响起,两人旁若无人的凝望着彼此。
你以为自己像座火山,急于安放炽热的情感,但你的爱人拥有平抚一座火山的能力,所以此刻你前所未有的平静。
配乐戛然而止,留下一个完美的逗点。
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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。
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
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
比《断背山》差了五个《阿黛尔的生活》,就酱紫
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。
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。
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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。
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。
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。
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。★★★★
直男恋爱教学篇 送相机请附带胶卷好嘛
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。
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。
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。
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。
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。
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