剧照
更新时间：2024-04-12 11:43
详细剧情
长篇影评
1 ) 各方面都很优秀的平庸之作
这片之前一片溢美之词，连烂番茄都有95的好评率，作为我最期待的圣诞精选，看完却有点失望到摸不到头脑。 我还是打了推荐分的，国内没有机会上大块银幕看，只能委屈一下画质，大概少了一大半的摄影分，这当然得怪我这个观众。但，大面积参考Edward Hopper风格的画面，音乐专辑精心考量，两位演员的演技被拿出来大书特书，我依旧很难把它归为一部好电影。 当所有人都在极口称赞拿了戛纳影后的Rooney Mara，和Kate Blanchett 的表演如何好，这两人之间依旧很难说有什么火花，正是因为如此，才见到两位优秀演员的技巧而已。演技这种东西，水盖不住石头，才会水落石出。 这题材又机巧，前10年就有《断背山》珠玉在前，只是贴个“同性”标签，把gay换成les, 两部影片也是立判高下。我们何曾在《断背山》里见过Carol丈夫这样刻板单薄的异性角色？只有两位女性做主角没有问题，可突然间，所有男性角色都面目刻板化，恶棍化，愚蠢化又是为什么？我们同情过断背山中恩尼斯的太太，但我们却很难同情Carol的丈夫，这个面目模糊的角色，痛心都痛心不起来。 再说主角，就算在那个女王T都得戴尖锥胸罩的年代没法不结婚，但是，家庭这条线对Carol这样好歹也得算个双的人，意味着什么呢？男人欢欢喜喜地娶了老婆生了孩子，最后发现是骗婚呢？还是婚后性向觉醒？不管哪样，除了和丈夫抢孩子，再看不到家庭对女王攻的任何意义，她是怎样踏入婚姻，又是怎样决心离婚的，我们一概没有线索。我们只知她追起小妹纸倒是非常来势汹汹，明知在离婚争夺抚养权的关头，还带着心上人出走，一秒变拉拉公路片。 真的，有一句常说的废话在检验同性标签的电影时却有用，“如果她是个男人呢？” 家庭的权重整条线都弱到只剩下抢孩子，这太单薄了。花了那么多功夫来交代两人的眼神交错，就加几句好台词刻画一下人物深度也不会怎样吧。 Therese 这边也是一样，从第一眼在百货公司见到Carol，就开始了没有任何铺垫地神魂颠倒。我明白所有纯爱片的基石，都是“一见钟情”，但，纵然是《阿黛尔的生活》里那种“这个妹妹我见过”的一见惊心，之前也有三分之一的篇幅来讲阿黛尔的性向选择和动摇。可Therese 明明就是有个固定男友的铁直，而编剧没有肯花一丁点儿力气去挖掘这个人物的转变过程，在这样的一部以角色成长为重的影片中，真让人惊异。编剧直接罔顾人物心理建设，就这样霸道地套上“爱能掰坏一切”的设定，我作为一介观众，只能紧锁眉头，丢下三个大字“我不信！”。 当然我信不信都不妨碍广大观众眼泪哗哗地看两人眉目传情。这也没办法，在故事的外部冲突和人际关系几乎全部建立不起来的情况下，我们只好看两个女人你侬我侬地喂甜豆儿了。但是这个片儿连床单都滚得及其不合我意！所谓银幕上的les, 无限柔光，无限温柔，无限（男性眼中）的女性性欲就是这样地轻柔美好，女王攻还涂着美美的指甲油留着长指甲温柔地摸摸小妹子，同时还注意小心地避开了不要露点，并且借位轻轻蜻蜓点水亲了几下，随后镜头一转就带入一片虚空。你不说我还以为我在看98年的《Gia》！2015年了，一个主流的同性片的情欲观还是那么陈腐。 不看床戏也罢，看完仿佛谎言的床戏简直想点“差评”。 大概我对金发霸道的中产大美女实在没有感觉的关系。好莱坞仿佛不管怎么拍，都拈轻怕重，带着清教徒的口味和资本规划过的良好，一切都在完善的工业体系里被打磨得发光发亮，演技是一流的，但化学反应是缺失的；摄影是一流的，但Hopper式的孤寂是没有的；故事本身是可以展现一些东西的，但单薄得只剩下常卖常畅销的“纯爱”款蛋糕。像是一款，各方面都很优秀的平庸之作。
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 ) Carol与Therese初见的那一瞥让我浑身发麻到散场 1230补充
[一部可以给死姬佬们带来全程高能观影体验的电影 －－ 写实的副标题］
（严重细节剧透，没有顺序，风格跳脱，想哪儿写哪儿）（似乎重点都跑到了补充内容里…）
（原影评因为下载链接给的太明显被删掉了…心塞＝ ＝）
作为一个三线电影节，斯德哥尔摩把凯特女王在出租车里追寻玛拉妹子身影的图当作宣传海报实在是太具吸引力，比电影的官方海报还要好。为此甘愿自掏观影史中最贵的一场电影票。
影片开始前和朋友说，不要跟我微信，我要把有限的精力投入到两个小时听力理解中，因为一点都不想错过。七百人的剧院场子，上座率至少在80%。根据全片的笑点判断，得有半场子的基佬拉拉，散场后看到涌出的人中不少拉拉脸；至于基佬，这整个城市的本地男性看着都像基佬。
原著小说刚看到第九章，因此没法对比，其实也不需要对比，毕竟是两种不同的表达方式，很多细腻的情感两小时的电影表现不出来，所以不应代入对原著的情感。即便这部片子不牵扯到同性恋情，从阵容到布景也足够引人了，再加上预告片和一些流出片段，拍摄和剪辑炸了，演技也炸了，又怎能错过如此炸裂的电影？
开头就是两人坐在一起面对面喝茶，我心想不对啊书里不这么写的，后来意识到雾草这是倒叙/全文首尾呼应，脑子里蹦出了context这个词于是跳戏五秒钟。接着闪回到两个人初见那场戏。Carol站在最远端的柜台，Therese先注意到，Carol看过来，两人对上眼，顺便把我也看怀孕了。现在闭上眼回想凯特女王的那个眼神，依旧浑身发麻，还有一种被人打了一拳胸腔里一声闷响的感觉。这是值奥斯卡最佳女主提名的一瞥，十足的穿透力，因此Therese的crush一点也不突兀。两人的第一段交谈从洋娃娃开始，到小火车送货上门结束，凯特女王谁听谁怀孕的声音和看谁谁生娃的眼神，对于Therese都是绝命无情杀。一个刚入社会的小女孩，面对一个来自更高阶层、举止优雅、面容中透着神秘的成熟女性，瞬间被吸引是在情理之中的。对于手套，个人认为是Carol故意留下，因为Therese说她四岁的时候喜欢小火车，如此strange的小姑娘对于一个不用上班还在离婚中的Carol十分新奇；而Therese明显因为那一瞥就爱上了，她把手套按送货地址寄过去时心中也是期望能和Carol再有接触，所以双方都是心 怀 不 轨
剧本剪掉书中的一些关于Therese着实是一个很难对别人说不的小姑娘的情节，改成了她和Carol吃饭时的对白（对Richard和Jack她也没有明确说过不）。第一次通话约饭，Therese答应；初饭时Carol邀请来家中做客，又答应了，"strange girl you are"，但Therese对Carol的yes都是喜悦而肯定的，不像对别人只是not no。剧本还把Therese的工作从场工变成摄影，这个改动无比适合电影表现－包含着爱意拍摄的影像可以最直观地表现出当事人的情感，压箱底的照片也在后来提醒Therese你还爱着Carol。给编剧加个澳龙。
凯特女王全程演技炸表，勾引挑逗玛拉妹子的时候，作为一个姬佬我也是各种屏气凝神/心跳加速/心脏停搏，因此玛拉妹子演技在凯特女王全程高能下很容易被忽略，至少在观影的时候是没注意到的。但回想起来，玛拉妹子片中演技担当与女王其实平分秋色。如果说凯特女王负责撩拨观影姬佬和掰弯看片直妹，玛拉妹子就是在表现一个现实中被撩拨被掰弯的小姑娘。因为自然。Therese面对Carol时的表现就是一个普通人在生活中面对突如其来的crush应有的表现，不做作，不夸张，却又传达出了内心活动。弹琴那段，Carol的双手搭在Therese肩上的那一刻，想象中我自己的反应和屏幕上看到的Therese的反应是一毛一样的。那是一种全部感官都被放大放缓的感受，心脏有力的跳动之声占据整个大脑，似乎能感受到所有血管的舒张和收缩，听到血液的流淌，心中的兴奋与期待，玛拉妹子全都表现出来了，一个短短的镜头里。所以玛拉妹子更值得奥斯卡最佳女主提名。鉴于蓝色茉莉女王拿奖拿到吐，所以期待奥斯卡长眼让玛拉妹子提名然后拿奖。
说到演技，片中Carol是个很张扬的角色，但凯特女王并没让这个角色显得狂放，却在一个热 爱 穿 貂 还时常烈焰红唇的女子身上营造出了绝对的气质二字。后面和前夫妥协女儿抚养权那场戏，情绪从平缓向激动的转变，哭泣时的念白，旁边的鬼佬在这幕戏结束的时候来了句wow。
全片都很克制，Therese打包因为要和Carol去西部而和Richard吵架爆发了一下，然后克制住了，没有将滚吧别来烦我说出口；Carol跟前夫吵完架还找不到烟，气急败坏了一下然后又优雅的克制了；发现侦探偷拍应该是全片情绪最爆发的一段了，但还是以克制收尾；Therese被一个人留在旅店后也没有伤心到嚎啕大哭（啊她在回程路上因为伤心而下车呕吐的时候脑子里想的是这一幕在逼站上一定会被“妹子怀孕了”刷屏）（误）；Carol的那封信内容语气也极为克制，虽然凯特女王的声音无疑是一剂催产素（但还是想吐槽最后一句I release you 是特么什么鬼，简直渣男附体好么）；船戏却是克制的爆发，仿佛是一缕轻烟在一个空球体中出现，然后慢慢散开，越来越浓，最后充斥了整个球体，最终融合成了一个有份量的固态的实心球体。
一共两分钟左右的船戏在我看来有五分多钟的感觉，可能是太过全情投入拉长了时空。吸鼻涕的，清嗓子的，吃爆米花的，调整坐姿的都没了声音，船戏结束后无声的几秒钟全场也是完全静音的状态，如同所有人都凝固在了各自的高潮余温中一般。又是扶住肩膀，而此时两人之间的关系彼此已经心知肚明，Therese并不再是心里小鹿乱撞，而是知道要发生什么的紧张和无措，再次赞玛拉妹子演技。
Therese的紧张和无措建立在两人之间的情感地位上，Carol占据主导地位－先出手，话题、活动都是由她引出，Therese积极回应每一件。全片Therese从未对Carol有主动的身体接触（关系暴露后的那晚Therese也不敢主动和Carol一床睡，再之后还关于抚养权产生自责），我倾向于Therese的自卑心理：不同阶级，不同阅历，让她不敢向Carol主动表达情感，仅有的一次主动打电话也没能在Carol挂电话之前把那句I miss you说出口，因此全片仅有的一句I love you是从示弱的Carol嘴里说出也就可以合理解释了。
Carol解开睡衣带的那刻，我呼吸都停止了，并且明确感受到自己脸红了orz…荧屏里的Therese显然也是大脑一片空白脸。太特么诱惑了。不知道书里怎么描写的这一块，但是这个动作秒杀一切前戏，有直接送人登顶的功效。更厉害的是，并没有接下来就宽衣解带，而是手扶着肩，两个人在镜中对视了一阵，然后Carol缓身吻向Therese，镜外是Carol的角度，镜中是Therese的角度，两个人各自的情感在同一画面中同时展现，在这里要给摄像跪，给导演跪。接下来依然克制，Therese停下来说take me to bed，也是两人走向床，Therese轻轻躺下，Carol解开Therese衣服，赞美身体，脱掉自己的睡袍，再俯身轻吻，才激烈起来。一段太美的船戏。
（凯特女王脱掉浴袍露出背上肌肉的时候，我从心脏停搏直接狂飙到心率180）
这段船戏中没有夹杂着情欲，只有两人的强烈情感。Carol的船戏里光影和配乐的运用，配合两位女主双双炸了的演技，足以让人屏息凝神地欣赏，让人在观看时感受到爱，（在有片源后）让人在想感受爱的时候翻出来回味，达到精神上的满足，而非看完想转身找人打一炮or想打炮却没人时的替代。另外我认为美好的船戏是让观众产生欣赏之情，哪怕美得不真实。与之相对的是阿呆尔的生活，里面的船戏拍得很“真实”（然而实际生活中并不），但作为姬佬我在观看过程中感到非常尴尬，因此空前绝后地在船戏时快进。Carol的船戏让我没有夹杂着色情视角进入了角色，而非旁观者，十分难得的体验。
影片结束在两人远远地对视中，正如开头的对视令两人相识，片末的对视是两人更新一层关系的开始，也是Therese最主动的一次行为。随着停留在凯特女王身上的镜头，我在片首怀上的孩子，也在步入到寒夜，同旁人一起点燃的烟中，思维还沉浸在电影里，生出来了。
（想写的太多，语言组织能力又太差，等思路捋清晰了再回来补充）
（结束滚幕上看到了柯达16mm胶片，当时激动的眼泪都快掉下来了，数字时代稀有的胶片电影啊！）
151122
补充一：
Carol送Therese相机和半箱子胶卷（还用脚把箱子踢近）和心情不好来一场说走就走的西部游彰显了她的主导地位－有钱任性。
补充二：
电影没有说明白Carol对Therese的感情是怎么开始的，从开头的挑逗通过接触弥补感情空缺逐渐升级成爱？这要是成立了，从Carol的角度故事就太不感人了…但两人明显就是真爱眼神。也许是因为Carol是主导方，因此观影时观众自动被主导，因此在Carol不脆弱的状态下没有参与进她的心理活动。还有结尾太仓促，Carol内心的挣扎展现得短小却并不有力，反而让人觉得是争女儿无望所以不能再失去Therese。但她是怎样意识到生活中不能缺了Therese也没有表现出来，只有在出租车里追寻Therese背影这一点，感觉再加15min的戏来说明一下也不多…不过这确实是不太好处理的一块，反正导演说budget is limited…
1127补充三：
看完电影的状态就是从掉坑到被活埋－再也出不来，于是跑去读原著，然而阅读速度捉急，已经无法满足对着文字意淫画面的需求，于是找到了英文有声书，下好分享给自愿跳坑被深埋的各位，九个半小时即可登极乐(微笑脸) （各种｜｜｜下载链接｜｜｜弄得我都不敢放了😂想下的直接管我要吧）
1128补充四：
两天的原著搞定过程里整个人陷入了魔障模式…把学校里所有的电影节海报都拿回家了…还给电影节写邮件讨要不同尺寸的海报…找来了所有和电影相关的访谈来看，表示玛拉妹子把头发散下来更漂亮，凯特女王影场老手各种问题应答得心应手。然而，遍寻整个油管carol的采访都没有找到NYFF放片结束有中国妹子提问环节说“中国姑娘们看完预告都弯了”的视频…只找到了伦敦电影节导演提到这段的访谈 http://www.bilibili.com/video/av3291892/ 希望有好心人找到NYFF的访谈视频
万能好心人Youth提供了NYFF视频地址http://video.weibo.com/show?fid=1034:5233a4f16b58f128a1906342834296da
1201补充五：
犯病继续中…每天靠trailer和clip度日等公映…感觉可以剪个短版电影出来了…
说说扶肩膀这件事，原著里也是认真刻画了好几次
影评没法传gif 动图在这里 http://www.douban.com/people/3984228/status/1764408485/
前面说过，这是一部极其克制的片子，只有我们这些心怀不轨的人才全程被撩。然而片中除了船戏两人为数不多的几次身体接触里，有三次轻抚肩膀杀让人印象深刻。感谢玛拉妹子炸天的表演，让屏外人对Therese可以感同身受。
／／第一幕，同时也是快到结尾幕的扶肩发生在Carol邀请Therese同住被拒绝然后放ILoveYou大招后。Carol是伤心的，因为这个No在她意料之外却又太合情合理。扶住Therese肩膀，Carol说you two have wonderful night，手指在肩上微微用力，后短促慌张的抬起。抗日剧里这是上战场前立flag的标准动作之一。指尖的力量里包含着爱与不舍，和诀别般的痛苦与遗憾。之后她保持优雅，从容离去。[楼主要回国，来个新年彩蛋吧1227，第一个留言发现彩蛋的国内包邮送一张电影节海报 如图
至于Therese，在Carol的手触碰到肩膀的那一刻，深吸一口气，转头偏向Carol，到三秒钟后手离开，放下提起的那口气，思绪却还停留在刚刚，接着是近似于喘息的深呼吸，心跳加快的反应。这段clip看了不下20遍，在不到十秒钟的画面里，双方对彼此的情感靠两个并不明显的动作完美诠释。
／／第二幕发生在Therese第一次去Carol家做客。Carol坐在地上，问起Therese偷拍事宜，然后谈起了人生理想事业规划。之后起身，轻轻走向弹奏中的Therese，双手扶住肩头，向侧轻抚，然后手离开。一个包含怜爱的举动。一个受情感驱使发生的动作。这是一个只可能发生在关系亲密、彼此接纳的人身上的动作。另外，在扶肩之前，Carol手在胸前轻抹了一下衣服。一般情况下这是由于紧张带来犹豫不决时无意识的动作。Carol为什么要紧张，我的理解是，那是她已经意识到自己对这个小姑娘已经不再是单纯的感兴趣了，并且多少发觉了Therese对自己不一样的情感。然而在当时的社会和她自己所处的生活状态中，她清楚了解两人如果走到一起，那将会有极大的风险，对彼此的生活影响很大，因此紧张和犹豫。
而Therese在手触到肩的那一瞬，整个人僵住了，电流从坐骨神经涌到大脑，breath taking。拷贝上文，“那是一种全部感官都被放大放缓的感受，心脏有力的跳动之声占据整个大脑，似乎能感受到所有血管的舒张和收缩，听到血液的流淌，心中的兴奋与期待玛拉妹子全都表现出来了，在一个短短的镜头里。”
／／第三幕是船戏前奏，没记错的话是可以分为两部分的：
#1Carol从后面走来，右手搭上Therese肩膀，左手慢慢捋着Therese的头发，谈起各自独自一人度过的新年夜。Therese说I'm not alone with you，伸手搭在了Carol的手上。两人在镜中对视(至少五秒)。从表情上看不太出两人的心理活动，只是可以肯定Therese心里是很高兴的，是那种可以和Carol分享生活的高兴；
#2Carol(左手)解开睡衣带，Therese变大脑空白脸，伴随紧张和无措，两人在镜中对视(至少三秒)，Carol缓身吻向Therese。
Carol主导了由#1向#2的转变。一直处于弱势和被动的Therese想必并没有会和Carol滚床单的想法，尤其是剧本删了我们心心念念的Don’t you know I love you桥段，Therese始终没有明确过Carol对她是怎样一种情感，到达什么程度，因此她不敢奢求什么。相对于爱，我更愿意把她对Carol的感情理解为爱慕(截止到滚床单前)。Carol对Therese的情感则应该是在旅途中慢慢升温的，从最初的感兴趣，到陪伴者，到深度陪伴者(和到最后的人生陪伴者)。旅行真的是情感发酵最强大的催化剂，全天候的陪伴如果没带来厌恶和嫌弃，那就只能让双方的感情向更深一层次发展。解开的睡衣带一方面是解开孤独，另一方面就是解开情感－－一个成熟重名的女性知道自己需要的是什么，而在当时的社会背景下，解开了这样的情感，几乎就可以算作是行动版的我爱你了。
1213补充六：
在线 http://www.bilibili.com/video/av3384190/
源地址 //www.youtube.com/watch?v=v162MTr_RPM&index=1&list=PLbRpHkuMazSKL73_wqMhSWiPuzNizmCdg
疯逼楼主凭借二十天前仅看过一次的记忆和track名字尝试把ost和情节对应，如有错误欢迎指正&补充
TRACKLIST: （靠低清生肉二刷以后更正&补充了）
1. Opening - Composer: Carter Burwell －－00:52-03:01 片头
2. Taxi - Composer: Carter Burwell －－05:14-06:01 Therese坐进出租车开始回忆杀
3. To Carol’s - Composer: Carter Burwell －－31:47-33:11 Therese上了Carol的贼车（书里是Therese想想隧道塌了俩人被埋死在一起）
4. One Mint Julep - Performer: The Clovers －－70:44-72:26 开向豪华酒店所在城市的路上
5. Datebook - Composer: Carter Burwell －－24:25-25:05 笔记本上写Carol的名字和周末去她家玩的日程（12月21号哟）
6. Christmas Trees - Composer: Carter Burwell －－33:13－34:46 贵妇撩骚以及痴汉偷拍
7. Easy Living - Performer: Billie Holiday & Teddy Wilson －－没聋的话应该是Therese钢琴弹的曲子
8. The Train - Composer: Carter Burwell －－42:54-43:58 Therese在火车上哭（这段看了好心疼啊TAT）
9. Packing - Composer: Carter Burwell －－58:59-59:58 打包行李准备出发
10. Drive Into Night - Composer: Carter Burwell －－62:02-62:50 Therese把唱片送给Carol 然后两人上路开车。开到夜里Carol还给一旁坐着睡着的Therese盖了下衣服。
11. Kiss Of Fire - Performer: Georgina Gibbs －－
12. Waterloo - Composer: Carter Burwell －－74:03-74:28 开向Waterloo&船前
13. Lover - Composer: Carter Burwell －－76:00-78:22 船ing（WTF船戏真的只有两分半…我果然错觉了）
14. The Gun - Composer: Carter Burwell －－79:28-82:08 发现私家侦探
15. Smoke Rings - Performer: Les Paul & Mary Ford －－
16. Over There - Composer: Carter Burwell －－83:30-84:40 临别船
17. Visitation - Composer: Carter Burwell －－ 95:17-96:37 Carol见到了Rindy，到Therese挑选Portfolio照片
18. To Court - Composer: Carter Burwell －－ 98:31-99:29 Carol去跟前夫讨论听证会路上在出租车里追寻Therese身影
19. The Letter - Composer: Carter Burwell －－ 102:43-102:58 Carol给Therese写信约见面
20. No Other Love - Performer: Jo Stafford －－
21. The Times - Composer: Carter Burwell －－103:03-104:43 Therese在Times工作&餐厅见面
22. Reflections - Composer: Carter Burwell －－108:49-109:57 Therese去趴体
23. Crossing - Composer: Carter Burwell －－113:01-114:27 Therese去找Carol
24. You Belong To Me - Performer: Helen Foster & The Rovers －－ 32:36-33:12 穿隧道时Carol打开车里收音机时的音乐
25. The End - Composer: Carter Burwell －－ 片尾
1225补充七：
机场过夜无聊，谈谈对Therese火车上哭的感想。
可以十分清晰地感受到委屈和无助两种情感。在Carol和前夫起争执的情况下，她什么都无法为Carol做，甚至连提出去帮忙买烟都被情绪不稳定中的Carol硬声回绝。这样的回绝其实很伤人心，相当于直接说“我不需要你”，生冷、僵硬、疏离，在开往火车站的路上也是一言不发（隔着屏幕都能感受到沉重凝固的气氛），这些对本以为已经进入Carol生活的Therese算是当头一棒。
对于Carol，Therese人生中第一次产生爱／爱慕这种剧烈的感情。有过暗恋经历的人应该都体会过那种想为对方做任何事、帮对方解决困难的欲望，因为爱是占有，你希望包办对方的一切所求，希望对方的一切都是从自己这里索取，也希望自己的付出能够换来对方的一个微笑，然而Carol只给了"Just let it be"+关上的房门，和"I'm fine. The next train's at 8:30. I'll drive you to the station."+无言的路程。后来我想了想，如果是叫出租来接，Therese的伤心程度应该会比电影中的要少一些，至少她可以让自己理解为，Carol吵完架心情真的很不好，无心处理他事。而开车送站，在Carol方面是一种最低限度的礼仪，但在Therese看来就是不被需要的拒绝。
还有之前没太想明白的一点，在这夜深人静 空旷漏风的KEF机场也稍微思如泉涌了一下：Therese想问Carol的话内容是什么，以及Carol为什么恳求答案却又在电话另一头的一阵喧嚣中挂断了电话。
Therese到家后，像是有感应一般接起了Carol的电话。平静下来的Carol意识到之前的态度太过硬冷，打电话表示道歉。画面中，Carol拿着烟的手在颤抖，声音里没有了强硬和自信，询问了第二天能不能来找Therese，双手握住电话，竟用了近似恳求的语气"Ask me. Things. Please."让Therese问问题，然后做了只有在内心痛苦时才会有的扶额动作。这时的Carol孤独无助，像是接替了Therese之前的情感一般。走廊里的那阵喧嚣，可能让Carol误以为Therese找到了下一个开心的地方／没有人和她一同承受悲伤，遂挂断电话。
至于Therese想问的问题，从她被“邀约”瞬间点亮的眼神变为羞涩向下的低垂，大概可以猜测出来：
a "I think I'm in love with you. Do you like me?"
b "Do you know I love you?"
c "Do you like me?"
d "I'm care about you. Do you need me?"
不管问题是什么，还好没问出口。因为隐藏的感情才有更多发酵的余地。
1229补充八（在又一次漫长的转机等候中）：
离回国18小时的时候去影院二刷了Carol，九点开始十一点结束，下过雪的斯德歌尔摩气温竟与一个月前从影院走出来时没有太大差距。在家把标清裆漏也看过了几遍，完全熟知了剧情和对话，但这次二刷时仍然目不转睛，除了感受到有些场景相比于第一次看“快”了许多，没有别的不同，又是第一眼被盯怀孕，又是长舒一口气和意犹未尽式的如鲠在喉，也关注到了更多的细节。不得不说，影院观影感受和对着电脑撸完全不同，因为影院里唯一可见的就是亮着的大屏幕，偶尔加上一些前排稀落的人脑袋，很多细节和情感的感知程度要远深于一块撑死17寸屏上放映着的低标清画质画面。
寒酸的吃饱喝足，先来聊聊爱情。
我没经历过crush，也不相信crush。第一眼带来的最多是互相吸引，第一次短暂且不深入的接触最深也只能带来好感。一直放不下的人和唯一一段恋爱的第一面也只是相对于其他不认识的人多了一丝关注而已（一个高中入学一个大学入学）。感情是相处出来的，需要共同经历时间地点事件才能深入和转化。
然后来捋一下两人的感情发展时间线：
1216/17 商店见面—— 1218 Carol约Therese周五吃午饭—— 1219 午饭&Carol请Therese周日到家做客—— 1221 难过的做客经历—— 1222 Carol到Therese家看照片&相约西去—— 1223/24 出发—— 1231or0101 两分半—— 0103 Carol丢下Therese走了
满打满算，15天。
经历过Therese的年纪和类似事故，可以确认她在第五／六天从爱慕变成了爱上；Carol比Therese多一天，在Abby的问题里意识到自己对Therese是有不同寻常的感情的。窝无数次在无数地方提到或写过，旅程是情感发酵的最猛烈的催化剂，如果没在日夜相处中心生厌恶，那就只会有越来越深且容易升华的感情。持续接触的15天是情感的铺垫与发酵，激情与伤害过后，接下来的一个多月才是爱情真正发展的阶段。写到这里，突然想再给编剧加个澳龙。绝对的好手笔，让两人在几十天互不见面互无消息之后，来一次目光与背影的重逢，来一次掷地有声的I won’t deny it，来一次没有直接回应的I love you，来一次人群之中我只能看到你。有经历曲折，有时间沉淀，这样的爱情才有爱情的样子。相信这也是很多人看完以后，嘴中长舒一口气，却还有一股劲顶在心和喉咙之间，可能自己都没意识到的，原因。
再说说Carol对Therese的感情。之前没想明白Carol对Therese的感情是怎么开始转变的，对电脑撸了几遍低清也没发现，这次二刷被一个画面糊一熊脸后略微恍然大悟：爱的迁移。一个三十几岁有婚姻有家庭的上层阶级女人勾搭不到二十的售货少女，怎样都会给人一种玩儿性大发的潜在感受。但Carol看到Therese小时候照片那刻的表情，以及转变话题要喝的，和之后坐在一旁黯然神伤，无疑是照片唤起了对Rindy的想念，这时Carol的母性应多少迁移了一些到Therese身上。片中另两处明显的母性体现：夜车途中关掉收音机给Therese盖衣服（理解为对有感情的人的关心也可以，因为盖好后还轻按了一下肩膀）；新年夜手搭在Therese肩上的同时抚弄她的头发（Carol时常给Rindy梳头），然后聊到双方都总是没有爱人陪伴得跨年。两次母性的体现都混杂在更复杂的感情中，所以Carol对Therese的爱既不是从母性中寻找支点，也不是意外的经历衍射出了母性，而是自始至终地揉杂并行，并且我认为在Carol放低姿态去求Therese搬来一起放I love you大招时，依然不是纯粹的情人间的情感—— 母性哪有那么容易消散，世上哪有完全纯粹的感情。
（天惹这段写得好无聊，但语言和逻辑表达只能到这个地步了…千言万语不知道怎么说才好 真糟心）
不过发现之前观影的一个遗漏。Carol坐到一旁黯然神伤的时候，Therese敏感的察觉到Carol情绪异样，也是她第一次直面到Carol的弱势状态，因此有了第一次主动的（安慰性的）碰触——没错，又是搭肩膀（多么内敛克制的一部片子！除了船两人片里所有的肢体接触都特么是 搭 肩 膀，还不是环绕式的搭肩膀，也连个充满爱意或温暖的涌抱都没有…但不管是谁设计的，只想说 干 得 漂 亮），这是两人算是熟识后Therese第一次感受到被需要。另一次明显被需要的是住豪华酒店吃饭时被问房号，Carol想不起来也找不到，场景还是挺尴尬的，Therese的脱口而出颇有解围的态势，于是［您的好友Carol发送了“眨下眼睛”的表情］，Therese调用［自豪耿直红耳根微笑］表情包。任何一次的主动付出被接受和被需要在自认为相处弱势的Therese看来都是宝贵的，这些可以向Carol证明自己有拥有价值的机会，证明对她的关心，对她的感情。
好啦来说说摄像。（又是一个不那么有趣且讲不明白的话题）（窝今天是怎么了😂 ）
本片摄像最大的特点就是能摇晃就绝不稳，能在镜头和脸之间插入任何形式的屏障就绝不让画面中直接仅出现一张脸(directly to a face …有时候中文不好真捉急)。最多的就是隔着玻璃，映着街景的，挂着雨水的，偷拍视角的；类似就是利用镜面反射，一张脸，两个角度，出现在同一画面。其次就是对焦一张正脸的前景一定有一个虚焦的人／物挡着。没学过电影，但给我最直观的感觉是，影片要营造一个旁观者视角，让观众在不远处跟踪这两人的故事，而非把自己代入某个角色或纯当一个观众。然而神奇的是，各位姬佬讨论时更多的是把自己代入Therese的角色中，谈论到Carol主要都是从旁观者角度分析，莫非是大家都更熟悉情窦初开的感觉？总之摄像是神助攻，极少见到这么拍摄的片子。
然而说到底，这还是一部 从此女王与公主快乐地生活在了一起 的故事。但就是因为这样才美好。
（感谢在原影评里留言的各位 截图保留下来了http://www.douban.com/people/NoEnoughPants/status/1773520618/）
4 ) CRUSH
看了carol在纽约的点映，一连两场，几乎满座。电影院6个厅里有四个在放carol，不禁感叹纽约人民在文化活动这件事上超高的幸福指数。你想看的，你想见的，只要穿过难以置信的肮脏与拥挤，都能见到。看完电影整个人都处在一种极其懵逼的状态下，站在寒风中等机场巴士，忍着一天没吃没喝的饥肠辘辘排队安检，这些场景现在回忆起来显得格外模糊。而清晰是，电影院里一对又一对沉默的情侣，为爱情流眼泪的男男女女，还有该死的忘不掉的爱情。首先做个总结陈词，谢谢海因斯，谢谢女王，谢谢麻辣妹子，谢谢纽约，谢谢感恩节。这对于我来说是一场万人齐心的梦，是近期感受到的最壮阔而又细腻的事情。
然而故事还是那个俗套的故事，无非是性向摇摆的多金中年白富美与不满恋爱现状的文青小白兔之间的牵绊和拉扯。一见钟情，共进午餐，互生好感，结伴旅行。做陷入爱情的人都会做的事——做爱，亲吻，伤害，挽回。很多侧面或正面的小细节都处理的很好，比如小记者对therese说“你应该多拍拍人”，比如therese和男友之间关于boy’s love的争论，比如女王把手搭在therese的肩上时therese无法掩饰的紧张，再比如妹子读了carol给的分手信自己跑到草丛里吐。不得不说，todd比女人更了解女人，有些小场景一出，少女们纷纷捶胸顿足，恨自己怎么就没有过如此真实而又铭心的恋爱经历。
有一幕给我印象格外深刻，是发生在carol抛下therese消失在旅行途中之后。carol坐在出租车里，正在赶去一个类似于庭外调解的小型会面。路上行人来去匆匆，carol望向窗外，看见了therese，穿着红色的毛衣格子裙，手中拿着黑色的小本子，穿过人群与车辆。与不久前曾经伤害过的恋人偶遇，她看不见你，你久久凝视，凝视着极力克制住的情感，凝视着她也凝视着自己。caol的心理转变发生在一瞬间，真实，克制，不说一句，没有流下一滴眼泪，内心却如同千万波涛汹涌着，冲击过早已瓦解的堡垒。在这里，cate为所有人奉献了教科书般的演技，细微到几乎无法察觉的面部表情变化，眼神里的隐忍，呼吸间的紧张与压抑——没有任何多余的动作，完美到令人发指。这是一场不动声色的崩溃，也是重生，它发生的极为突然，却让你如此深刻的体会到命运的定数和爱情的魔力。有了这一段的铺垫，自然有了后面在调解会议上她的一番话，承认和therese之间发生的事情，不抵赖，不妥协。她克制住自己的情感，最后一次表明了自己的立场，“我不会再妥协了。如果你执意不允许我见女儿，我们可以上法庭。但那样我们会变的ugly,我们都不是ugle的人，不是吗。”说完，carol哭着走出调解室，抛下其实无辜的丈夫，和一段再也没有意义的婚姻。其实这里关于ugly的说法是很有趣的，可能正是由于carol与前夫之间并没有太多单方面的情感，才会以ugly来定义整件事的未来走向，有种旁观者叙述故事时的清白与掌控力，又透露出婚姻生活的种种无奈与无力。也是因为这里，才更能对比出carol和therese情感间的交互，深刻，以及不受控。
或许是看戏的过客过分敏感，太过痴心；或许是妹子超越年龄的演技（感觉凭这一部麻辣可以轻松拿到所有最佳女主，有几幕她比cate演的还要好），让自我代入变得极为容易与自然；又或许是导演的恶趣味，巴不得全世界的女人都因为cate弯成一盘蚊香（恶趣味这件事有证可循，详见nyff采访和cannes记者见面会，对于“中国女生看过预告片都变弯”的反复强调）。总之电影会让人产生一种持续力超强的crush，更致命的是你可能会发现这场crush是个无头案，既不是对therese也不完全是对carol，好像只是迷恋上了一种氛围，在现实中不可见，在电影中又转瞬即逝。但只要抓住了，便是掉入了不复的深渊，久久难以抽离。于是心心念念着再看一遍只看一遍，却可能不自觉又反反复复琢磨了好几十回。而充满胶片感的一帧帧画面，是这场集体暗恋的源头。
不得不说，电影用16mm摄影机拍摄呈现出的明显的粗粝感，在电影院里感受的应该是最为深刻。复古拍摄手法的运用，也让一切感情的流动变的缓慢，宁静，克制。和原著不同，therese的设定从舞台设计师变成了摄影师。基本上胶片机不离手，也有一场在暗室里冲洗照片的独角戏。她把照片纸放进药水里，用夹子再加出来，抖落下水滴，然后久久凝视着照片中的carol。这是一种很奇妙的体验，胶片的质感为观众营造出一种触碰感，而影片里的人，也触碰着用胶片机拍摄出的照片。情欲的流动，不再仅仅局限在电影里。todd通过这个改编，创造出一种看似不可能的纽带，让一些东西从carol的一颦一笑滑落到therese的每一张照片上，再一转，自然的流进每一个电影院里观众的心。你要问我这些究竟是什么，我不太想说。因为这是一种隐秘的恋爱的心情——不可能之可能，每一个电影观众都曾深深幻想过的极为致命的不足为外人道的bad romance。
我不否认有人指出的carol被过誉，因为的确它只是一部完美的水准之作。题材讨巧，演员惊艳，拿捏的恰到好处的复古，这一切让它在起点比其他电影高的同时也丧失了一种生气与惊喜。然而这部电影的精妙之处在于，在克制与爆发间找到了一个完美的平衡点。所有人都凝神屏息的站在这个平衡点上，以小格局来放大人类与人类之间最最普通的情感。同性爱的挣扎与抗争被弱化，最浓烈的笔墨都献给情感的摇摆。这是优点还是缺点，争辩在看完电影后已经毫无意义。因为没有人能抵挡住todd的特写。每一支烟，每一次转身，每一次欲言又止沉默不语，每一次眼神交汇意乱情迷。这是每一根发丝都生机勃勃充满爱意的美，这是寂寞世界上最远离天堂的天堂，这是每一个失魂人拼命寻找的归途与故乡。
就让画面停止在最后的对视。当装饰统统撕去，彼此赤裸相对。好像有什么东西悄悄从你身体里升起，然后又重重落下。你带着它开始奔跑，身处千万个陌生城市，身处千万个房间，身处荒无人烟的小岛，身处地狱，身处天堂。![]()
随手丢一个结合个人经历的观后感链接：http://www.douban.com/note/528243740/
然而故事还是那个俗套的故事，无非是性向摇摆的多金中年白富美与不满恋爱现状的文青小白兔之间的牵绊和拉扯。一见钟情，共进午餐，互生好感，结伴旅行。做陷入爱情的人都会做的事——做爱，亲吻，伤害，挽回。很多侧面或正面的小细节都处理的很好，比如小记者对therese说“你应该多拍拍人”，比如therese和男友之间关于boy’s love的争论，比如女王把手搭在therese的肩上时therese无法掩饰的紧张，再比如妹子读了carol给的分手信自己跑到草丛里吐。不得不说，todd比女人更了解女人，有些小场景一出，少女们纷纷捶胸顿足，恨自己怎么就没有过如此真实而又铭心的恋爱经历。
有一幕给我印象格外深刻，是发生在carol抛下therese消失在旅行途中之后。carol坐在出租车里，正在赶去一个类似于庭外调解的小型会面。路上行人来去匆匆，carol望向窗外，看见了therese，穿着红色的毛衣格子裙，手中拿着黑色的小本子，穿过人群与车辆。与不久前曾经伤害过的恋人偶遇，她看不见你，你久久凝视，凝视着极力克制住的情感，凝视着她也凝视着自己。caol的心理转变发生在一瞬间，真实，克制，不说一句，没有流下一滴眼泪，内心却如同千万波涛汹涌着，冲击过早已瓦解的堡垒。在这里，cate为所有人奉献了教科书般的演技，细微到几乎无法察觉的面部表情变化，眼神里的隐忍，呼吸间的紧张与压抑——没有任何多余的动作，完美到令人发指。这是一场不动声色的崩溃，也是重生，它发生的极为突然，却让你如此深刻的体会到命运的定数和爱情的魔力。有了这一段的铺垫，自然有了后面在调解会议上她的一番话，承认和therese之间发生的事情，不抵赖，不妥协。她克制住自己的情感，最后一次表明了自己的立场，“我不会再妥协了。如果你执意不允许我见女儿，我们可以上法庭。但那样我们会变的ugly,我们都不是ugle的人，不是吗。”说完，carol哭着走出调解室，抛下其实无辜的丈夫，和一段再也没有意义的婚姻。其实这里关于ugly的说法是很有趣的，可能正是由于carol与前夫之间并没有太多单方面的情感，才会以ugly来定义整件事的未来走向，有种旁观者叙述故事时的清白与掌控力，又透露出婚姻生活的种种无奈与无力。也是因为这里，才更能对比出carol和therese情感间的交互，深刻，以及不受控。
或许是看戏的过客过分敏感，太过痴心；或许是妹子超越年龄的演技（感觉凭这一部麻辣可以轻松拿到所有最佳女主，有几幕她比cate演的还要好），让自我代入变得极为容易与自然；又或许是导演的恶趣味，巴不得全世界的女人都因为cate弯成一盘蚊香（恶趣味这件事有证可循，详见nyff采访和cannes记者见面会，对于“中国女生看过预告片都变弯”的反复强调）。总之电影会让人产生一种持续力超强的crush，更致命的是你可能会发现这场crush是个无头案，既不是对therese也不完全是对carol，好像只是迷恋上了一种氛围，在现实中不可见，在电影中又转瞬即逝。但只要抓住了，便是掉入了不复的深渊，久久难以抽离。于是心心念念着再看一遍只看一遍，却可能不自觉又反反复复琢磨了好几十回。而充满胶片感的一帧帧画面，是这场集体暗恋的源头。
不得不说，电影用16mm摄影机拍摄呈现出的明显的粗粝感，在电影院里感受的应该是最为深刻。复古拍摄手法的运用，也让一切感情的流动变的缓慢，宁静，克制。和原著不同，therese的设定从舞台设计师变成了摄影师。基本上胶片机不离手，也有一场在暗室里冲洗照片的独角戏。她把照片纸放进药水里，用夹子再加出来，抖落下水滴，然后久久凝视着照片中的carol。这是一种很奇妙的体验，胶片的质感为观众营造出一种触碰感，而影片里的人，也触碰着用胶片机拍摄出的照片。情欲的流动，不再仅仅局限在电影里。todd通过这个改编，创造出一种看似不可能的纽带，让一些东西从carol的一颦一笑滑落到therese的每一张照片上，再一转，自然的流进每一个电影院里观众的心。你要问我这些究竟是什么，我不太想说。因为这是一种隐秘的恋爱的心情——不可能之可能，每一个电影观众都曾深深幻想过的极为致命的不足为外人道的bad romance。
我不否认有人指出的carol被过誉，因为的确它只是一部完美的水准之作。题材讨巧，演员惊艳，拿捏的恰到好处的复古，这一切让它在起点比其他电影高的同时也丧失了一种生气与惊喜。然而这部电影的精妙之处在于，在克制与爆发间找到了一个完美的平衡点。所有人都凝神屏息的站在这个平衡点上，以小格局来放大人类与人类之间最最普通的情感。同性爱的挣扎与抗争被弱化，最浓烈的笔墨都献给情感的摇摆。这是优点还是缺点，争辩在看完电影后已经毫无意义。因为没有人能抵挡住todd的特写。每一支烟，每一次转身，每一次欲言又止沉默不语，每一次眼神交汇意乱情迷。这是每一根发丝都生机勃勃充满爱意的美，这是寂寞世界上最远离天堂的天堂，这是每一个失魂人拼命寻找的归途与故乡。
就让画面停止在最后的对视。当装饰统统撕去，彼此赤裸相对。好像有什么东西悄悄从你身体里升起，然后又重重落下。你带着它开始奔跑，身处千万个陌生城市，身处千万个房间，身处荒无人烟的小岛，身处地狱，身处天堂。
随手丢一个结合个人经历的观后感链接：http://www.douban.com/note/528243740/
5 ) FLUNG OUT OF SPACE 纪念我的疯狂。
在参加了一场Carol的映后discussion后，为了这半个多月来看的七次Carol，决定写一遍长篇的分析来纪念我的疯狂。 从十一月二十七号Carol在英国直接进入全面院线上映以来，在Curzon看了第一场以后就一直像着了魔一样的在谢菲尔德每一家上这部电影的电影院都看了， 当然也跟我确实是办了很多家会员卡所以很便宜有关啦。 观影效果最好还是Curzon，银幕大厅小，设备新颜色正，相比起来Cineworld的颜色有点灰，我不觉得那个是Todd想要的效果。Anyway, 总的来说就是会从电影的剧情，人物关系，摄影，剪辑，音效/音乐，主创采访来记录一下Carol这样一部注定成为经典的电影。 人物关系 Carol 和Harge Harge第一次出场是在邮局送信的同时， 注意到他从不自己开车，都是司机接送， 下车时说了一句， Won’t take too long. 可以感觉到这个人是一个很有自信的人， 好像一切都在他的掌控之中。 Carol看到Harge第一反应是， 你来早了。到后面Harge不按说好的把Rindy提前接走也是，显然这些事经常发生让Carol很不爽。最能表明Carol对Harge的态度的一句话在Harge让Carol和他一起去参加Jeanette的party时用的是someone’s wife， Carol马上纠正说，是Jeanette. 就这一句话就能说明为什么Carol和Harge要离婚。所有两人出现在一起的场景，Harge对Carol说话永远都是，I don’t like you干什么干什么，I would like you to 干什么干什么， 其次就是他提出的大多数要求都是Mother’s idea. 那么Caro对Harge 到底爱不爱呢?书里Carol是这么说的， 到了那个年纪，好像该结婚了。电影里也对Therese说她用的香水是Harge结婚之前送的，之后就都一直用这款了。 所以，在某一刻至少结婚时， Carol肯定是爱过Harge的， 至少很喜欢他，觉得能和他生活， 但事实证明是Carol Handle 不了这种only be someone’s wife的感觉。不过这也是那个年代的男人对待女人的一种方式， Carol很不喜欢， Jeanette说她丈夫不喜欢她抽烟， Carol的回答是，“So? you like it.” 另外不可否认的是，Harge对Carol的爱，包括要把Rindy从Carol身边带走都是带着让Carol打消离婚的念头的，这个人控制欲太强，家里的管家肯定经常给他打小报告说Carol又和Abby在一起了，他是能感觉到的， 但是就像他对Abby说，“I love her” 。Abby的回答: “ I can’t help you with that.” Harge当然爱Carol了，谁能不爱，只是你爱不起。 Carol 和Abby 书里Abby第一次出现是在Carol的房间， 是以照片的形式， 足见Abby对Carol有多重要， 书里是她们俩从4岁就认识了， 电影里改成了10岁。电影里第一次出现是Harge说Carol总和Abby在一起， Abby是俩人离婚的原因之一，Carol对Abby的依赖是就算取消了和她的约会也还是要她开车送她去和Harge一起参加party，足见两人有多好。显然两个人还是爱着对方，Abby虽然说Then it changed, it changes。 Abby还是对Carol最重要的人， 就算是遇到Therese以后也仍然是。 Therese 和 Richard Richard其实和Harge很像，他觉得自己很爱Therese, 想娶她，但就是有一种我他妈都让你嫁给我了，你居然不感动？ Therese对Richard不管是在书里还是在电影里都是没有爱的，不爱他，但不讨厌他，觉得Richard对她的好让她压力很大，很烦他，但是又不知道到底要怎么办。尤其是讨论Love的那一段，对Richard说爱她的反应，是厌恶和不解，那里麻辣真的是演得很好，归功于天生一张嫌弃脸。Never in love, until you. 挺能让人感动的话， 但Therese听着就是不爽。书里是Therese和Richard上过两次床，但都不是很愉悦，电影里是表示没有过，either way，Therese 对Richard的感情仅限于不讨厌，但大部分时候很烦他。如果没有Carol的出现，或者Therese是个宇直，那也不会和Richard走下去，可能和Dannie的可能性都能更多。简单的说，不爱你，你做什么都是错的。 Therese 和 Dannie, Phil Therese喜欢这两个人一定比Richard多，和这两个人相处不让她有那么大的压力， 首先，和Phil, Phil帮她修相机，给她推荐工作，speak highly of her，但是都是出于朋友情谊。然后和Dannie, Dannie在电影里出场的几次都很重要，可以说直接影响了Therese看清自己对Carol是爱。Dannie带她看工作室，介绍她进Times工作，告诉她应该be more interested in human, “ We all like certain people, you like certain people right? And others you don’t. And you don’t really know why you’re attracted to some people and not others, the only thing you know is you either are attracted or you’re not. It’s like physics，bouncing off each other like pin balls”. 然后Dannie亲了Therese, 几乎能想象就是这一刻，Therese wish it was Carol. Therese 和 Abby 这两个人怎么说呢？不能说是情敌吧，但都是爱着Carol, 书里其实有几处小暗示是Therese和Abby很像，都是深发色，都爱吹冷风，都爱Carol. 但两人是互相不喜欢的，Abby在书里约过Therese吃饭，免不了俗套就是不希望Carol受伤害之类的话，对Therese说 You win。Therese对Abby是有些怕有些嫉妒的。相比起来电影处理的更好，减少了很多Therese和Abby的冲突，电影里的Abby是更希望Carol能够幸福，也很关心Therese. 但年轻气盛的Therese还是几乎没有给Abby什么好脸看，还问她为什么恨她。其实就Therese对Abby的态度来说，她们俩是真的很像，Abby对待Harge的态度也是这么强硬，也许Carol觉得Therese还是有点像Abby的， 毕竟we all like certain people. Therese 和 Harge 这俩人在电影里就见过一次面，很让我感到奇妙的是，当Carol和Harge在窗外吵架时，Therese在屋里放大了音乐声，并且还给了特写，Therese不想介入Carol的婚姻矛盾，不想听到，可能就是根本想忽略Harge这个人也不一定。书里还有Therese问Carol关于Harge的问题，电影里就只有一句Harge是你丈夫吗？反而的Therese更在乎Carol和Abby 的关系。Harge在看到Therese和Carol在家很生气的问Therese是怎么认识他老婆的然后第二天就提交了sole custody, because of morality clause。 Carol 和 Therese Carol和Therese好像有很多能写，但是又不知道怎么写起。对于这两个人，我真的觉得电影改编的很好，就像Cate说电影让Carol活的立体了，而不是像书里面是活在Therese的想象里。书里Therese每次看到想到Carol时的内心活动都很多，麻辣真的演的很好，真的能感受到Therese对Carol的那种迷恋。但更想先说一下在就电影里展现的Carol对Therese的情感，Carol第一眼看到Therese是站在柜台后，她看到Therese盯着她看的时候或多或少的一定有想起19岁时的Abby, 所以她才选择走过去和Therese说话，然后一步一步的，领着Therese进入她的世界，Carol看似胸有成竹的，但是在吃饭时问Therese要不要周日去她家的紧张，以及那句著名的Flung out of space都能看出Carol没有她表现的那么自信，甚至会在看到Therese小时候的照片后坐在沙发上哭起来，当然大部分是因为她女儿的原因，但也是因为Abby说 she’ s young. Carol给Therese的分手信尤其展现她在这方面的不自信， 她说Therese seek resolutions and explanations because she’s young. 唯一能做的就是 release Therese. 她很自信的是觉得不再和Therese联系，挂断Therese的电话， 回去接受心理辅导，这一切做了她还能过得很好，能赢回女儿的监护权， 但是就坐在出租车的看到Therese路过的那一瞬间，全都白费了，Carol看到Therese的那一刻她笑了，然后决定放弃女儿的监护权要和Therese在一起。还能说什么呢？她内心觉得自己是Therese年轻时候要寻找的resolutions and explanations，但还是放弃一切想要和Therese在一起， 所以，有些人觉得Carol对Therese太胸有成竹了，我并不这么想。Therese对Carol的感情在书里铺垫的很好，但是因为书里是主要在以Therese的视角描写，电影里就更直接了当了，Therese看到Carol的第一眼就沦陷了，都不知道默默的开了多少自己和Carol的脑洞，比如书里说两个人开车进隧道的时候，Therese希望两个人就这样死在这，就能永远在一起了（这一部分的蒙太奇做的太好了）。读完Carol的分手信回到家，Therese就开始洗照片，全是Carol, 然后鼓起勇气给Carol打电话在被挂了以后说了两遍I Miss You以后感觉在很努力的move on, 开始在Times上班，穿衣做事都越来与像Carol,但不如说是像Abby更多一点，电影里处理的最好的就是把Therese最后去参加的那场Party和Carol的刚开头参加的那场Party作对比，同样是冷眼看着所有人，同样是自己溜到一边去抽烟然后和人说话，最后剩自己一个人在窗户边抽烟然后开始思考下一步该怎么做，Carol决定Get away for a while, 可能那个时候就想和让Therese和她一起走了，Therese的决定是去找Carol，不要move on. 其实还有好多能写的，但是觉得关于他们电影里表达的非常直白，Carol在车里放的那首You belong to me, 和这首Therese在店里给Carol买礼物时的背景乐简直就是Therese的内心写照。 I can't resist you, what good is there in trying What good is there denying you're all that I desire Since first I kissed you my heart was yours completely If I'm a slave, then it's a slave I want to be。 （ GEORGIA GIBBS "Kiss Of Fire”） 摄影 Carol 这部电影这么美，Ed Lachman的功劳真的很大，也提了好多奖拿了好多奖了。 Super 16 mm的整个颗粒感在Curzon的屏幕上真的是太有感觉了，从开场的下水道盖镜头往上跟着Jack一直走进Carol约Therese见面的地方，第一个感觉就是，有点贵。基本上整部片子的大部分镜头都是跟，就跟着演员，不切镜头。 但只有Carol和Therese说话的时候是用了大特写，两个人分别和其他人讲话的时候，最多也就是近景。 所以说这部电影就是在每一个方面都很直白， Carol和Therese一起出现的唯一没有用大特的场景就是Carol最后一次约Therese吃饭的那一场，所以马上就制造出两个人之间的隔阂，就有了和对方远一些了的感觉。最大的特点还有就是拍倒影，两个人在车里，除开大特写就是从窗户拍，窗户上印着路边的树的倒影加上两个人的脸，有点太美丽。 Carol去check out, Therese 在火车上哭，Therese和Abby吃饭，两个人在party上抽烟，都是拍窗户的倒影，或者从窗外拍，然后就大光圈，大光斑，整个气氛营造的特别好，不是像那种，看啊，我这个镜头多特别多创新，而是看的时候都不会想到说很仔细的去想这个镜头为什么要这么用，很自然把人往里带入。 不知道昆丁的新片70mm到底有多屌，或者The revenant的场面有多宏大，在我心里如果都提了奥斯卡，不管结果怎么样，Carol的摄影都赢了，没有大场面的都是小细节，拍的每一帧都能让人好像置身其中，而不是宏大场面的风景画。 剪辑 Todd 从Mildred Pierce 开始和Affonso Gonçalves合作，也让Todd的作品不让天鹅绒金矿和I’m not there形式感那么重了，也就是主流了，我感觉。不过就Carol来说，用这种主流的剪辑方式绝对是对的，如果玩形式那整个感觉就都不对了。Todd在采访里说最爱的就是对隧道那一段蒙太奇的处理，那一段确实是很惊艳，尤其是加入的那一帧Therese开场时在出租车的样子，太大胆了，谁敢这么玩？（蓝宇，哈哈，不知道是不是从蓝宇取经了）当然这也就不知道到底是导演还是剪辑的意思了。 其实剪辑没什么好说的，剪辑和摄影真是相爱相杀，摄影做的太好，长镜头用的好，真的就没什么剪辑能发挥的空间，唯一能玩的也就是拍的两人的大特写，在这种情况下，能把隧道那段做的那么精致，也是赢了。 音效/音乐 Carter Burwell 也是从 Mildred Pierce 开始和Todd合作的。 Carol的音乐已经到了洗脑的地步，基本上看完脑子里就一直回想着， 也拿了好多原声奖了，没什么好说的。音效会显得弱一些， 和剪辑一样，音乐做的太好了，没什么空间去做任何音效，就规规矩矩的就行，因为大部分时间都在被背景音乐洗脑着。 主创采访 其实主创的采访在不同的场合回答的问题和答案都差不多。总结一下就是，12年前Carol就是一个电影项目了，Phyllis Nagy把小说改编成了剧本，但是没资金，没投资，没市场，后来Cate加入这个项目（虽然还有很多很复杂的各种制片人了之类的，导演也跑了），Cate把这个项目介绍给Todd，然后麻辣长大了，duang，大家决定开开心心的拍起来了。 对这个电影所有主创人员的一致口径都是，这是第一部最后两个lesbian没有自杀或者一个人变直的小说啦，blabla... 最有价值的还是Cate说的电影把Carol从Therese的想象中拿出来，给了一个非常完整的故事线，麻辣说chemistry不是你能创造的，有就有没有就是没有。比较让我印象深刻的访问是在伦敦电影节上的记者发布会，制片人Elizabeth Karlsen说，很可惜这部电影在俄罗斯和中国这一类的地方不能发行。这部电影的历史意义就在此了，Carol拿的奖赚的钱越多，就越能改变未来的电影市场，这样才有越来越多的人愿意来为这类电影投钱，这也是Cate加入这个项目的原因。Pillow talk 前几天不是说，终于有好的lesbian film了，不知道怎么react嘛，well, there will be more.
6 ) 《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
-----已读完-------
7 ) 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。
8 ) 起雾的玻璃窗之后
毫无疑问，《卡罗尔》在视觉上有出众的细腻美感。影片的摄影风格节制，冷静，有着极强的艺术性，仿佛每一帧都可以被定格为精致优雅的画报。相较之下，《卡罗尔》的剧情似乎偏弱，被许多人评价为格局小，新意少，只是专注的讲述了一段隐秘深刻的爱情，而无更多对社会的注解与批判。
然而我认为，《卡罗尔》的格局并不小，它对政治和社会的批判只是没有在剧情大纲里直接表现出来而已。
实际上，电影的美学形式和内涵并不应该被泾渭分明的区分开来。《卡罗尔》对“大格局”的野心，恰恰体现在一些电影构图的小细节里：镜头下那些看似空洞的精致布景，可能蕴藏着丰富的象征，使电影表达的内涵远不限于剧本故事本身。而这其实才是电影有别于文学的独特魅力。
比如，《卡罗尔》中常出现一个有趣的取景角度：镜头常常是透过玻璃窗望向迷蒙的人物或城市街道的。那么这时常隔在视线中的玻璃窗应该被怎样解读呢？
1. 女性的困境
《卡罗尔》中的确没有激进的政治宣言，也没有热血的抗争，有的只是两位女主角之间静水深流的爱。然而，即使没有露骨地政治性批判，影片许多小细节都微妙地暗示了50年代美国女性的“不自由”。
鲁尼·马拉所饰演的百货公司售货员特芮丝在初见凯特所饰演的富裕家庭主妇卡罗尔时，调笑地说着，我很乐意带你去看我爱的火车模型，但现在我只能被困在这个洋娃娃专柜后。
当卡罗尔为了与女儿相见，只能同丈夫的家人一起用餐，她不断辩解着自己见的是心理理疗师而非医生。似乎在用一种间接隐晦但又毫无退让的方式坚持着自己的同性爱倾向并不是疾病。而极为讽刺的细节是，此时餐桌旁的电视里，某位名人正激昂地演讲着“自由”的美利坚所拥有的那个“自由”的未来。
50年代的美国女性已经拥有了选举投票权。但发生在60年代的，致力于解救中产阶级女性于家庭主妇命运的第二波女权主义，还远没有席卷美国。而一直要到80年代，女同性恋的权益才被纳入女权主义的讨论范围内。这些在法律上已拥有选举权的女性，看似已经身处在一个自由而平等的社会，然而卡罗尔显然并不“自由”。尤其当法律指认她的同性爱是道德问题，并剥夺她见女儿的权利时。
所以，当特芮丝坐在男性友人的汽车后座，隔着起雾的玻璃窗望向纽约夜间的街道和愉悦的行人时，或是当她站在卡罗尔家里，透过窗户望见正与丈夫纠缠吵闹地卡罗尔时——镜头的语言都是极富深意的。
表面上看来，她望向的“自由”的城市空间，或是她默默爱恋的人，就在她触手可及的地方。但如果她真的伸出手，触摸到的只能是冰冷的窗玻璃。
![]()
卡罗尔在与特芮丝分开后，正是经历了这样的幻觉和困境：她坐在汽车的后座，透过玻璃窗看见身着红衣的特芮丝行走在窗外的街道上。她的渴望已经近在咫尺，但她并不能真正得到。她能做的只有静坐在车里，继续前往裁决她命运的听证会。
从这个角度来看，影片中的玻璃窗可能象征着一种自由无拘束的幻觉，一种伪善的囚禁。换句话说，50年代的美国给女性开了一张“平等自由”的空头支票，自由对她们来说看得见却摸不着，她们依然在社会限制的眼光中周身不得动弹。而《卡罗尔》中频繁出现的玻璃窗意象，则是用艺术性的方式进行了类似的政治批评。
<图片1>
2. 都市人的孤独
但是，电影中的玻璃窗显然远不止一种解读的方式。在我看来，除了女权政治相关的批评之外，玻璃窗这个意象还使《卡罗尔》有了对城市生活的批判性思考。
电影中有两组相似的镜头，出现在卡罗尔两次与法律系统关于女儿抚养权的失败交涉后。镜头里，卡罗尔独自站或坐在落地玻璃窗后，窗外大街上匆匆行人的身影也隐约倒映在玻璃上。
于是镜头记录下的是一个忧郁的错觉：在窗玻璃的平面上，卡罗尔的影子与窗外行人的影子叠在一起，似乎正身处在窗外行人的包围之中；然而事实是她独身一人，与城市的人群远远相隔。这其实正是都市生活中人最容易产生的情感。穿梭在城市空间中的都市人每日要遇见许许多多的陌生人，然而个体的孤独却始终难解。
![]()
与此同时，卡罗尔与特芮丝身为陌生人的一见钟情，大概是对城市偶遇最浪漫的想象。但是电影并没有用很浓烈的笔墨刻画她们变得亲密的过程，一切是克制而隐秘的。
《卡罗尔》仅用几个简洁的场景就描摹出她们的心意相通：在卡罗尔与丈夫争吵后，我们看到的是她没有泪水的悲伤。然而目睹了一切后的特芮丝乘火车归家，身旁的窗玻璃上却影映着她哭泣的脸。
一个简单的镜头就已经述说了所有。特芮丝的悲伤显然是与卡罗尔的一种共情。虽然此时她与卡罗尔只是仅见过三面的“陌生人”，她却仿佛感同身受着卡罗尔的痛苦，并代替她流下了眼泪。
由此看来，在《卡罗尔》中，玻璃窗的意向是复杂的：它既映照了城市人群的孤独，也成为了照出都市人内心感情的镜子。
无论是哪一种解读，其实都不仅仅局限于两位女主人公之间所谓“私人”的爱情。这些细节所投射的其实是一些社会性的情感：“城里人”的孤独和对知己的渴求。这个“大格局”的主题在电影史上早已被讨论了千万遍，但《卡罗尔》的高明之处在于其注重视觉美感的隐晦处理。没有过多义正言辞的说教和矫情烂俗的桥段，孤独和爱都通过精妙的摄影构图和玻璃窗这个视觉主题来呈现，让观众自己去看去感受。
<图片4>
3. 电影艺术本身
然而，也许在大部分电影观众看来，《卡罗尔》中的玻璃窗到底意味着什么根本不重要。更重要的是，因为这些巧用玻璃窗的光影来拍摄的镜头，《卡罗尔》拥有了一种独特的美，并能让人置身一种怅然的情怀。
从某种程度上，其实无论是特芮丝手中的相机镜头，还是用以拍摄电影的相机镜头，都可以看做是一扇“玻璃窗”：特芮丝透过相机看到卡罗尔摄人心魄的美。而我们作为电影观众，透过托德海因斯的摄像机，看到的是一个能牵动人心弦的光影世界。
托德·海因斯本身就是一个影迷。他与所有观众一样，深深地迷恋着电影艺术的光影。《卡罗尔》复古的质感来源于胶片电影的独有魅力，同时也是导演继《远离天堂》之后，又一次对50年代好莱坞通俗喜剧大师道格拉斯·塞克的致敬。
关于塞克的电影，最著名的莫过于对比感强烈的配色。《卡罗尔》的色调是同样大胆的：从片中鲁尼·马拉常戴的那顶鲜艳的红黄相间的毛呢帽，到凯特·布兰切特雍容的衣着中点缀着的鲜橘色丝巾，总能成为纽约阴沉的冬天里亮眼的风景。
除了塞克，《卡罗尔》中两位女主人公的公路旅行也像是对著名女权电影《末路狂花》的致敬。只是与《末路狂花》中摧毁男权的旅程全然不同，当卡罗尔在愤怒中向偷窥她的私家侦探举起枪，那把枪里却并没有子弹。显然，在托德·海因斯的镜头下，卡罗尔与特芮丝并没有成为维权先锋。但海因斯用电影独特的美学形式书写了她们最美丽的感情，和最沉默的抗争。
无论是从女性主义角度的批评还是对城市生活的复杂刻画，《卡罗尔》首要顾及的从来不是政治正确和煲出正能量心灵鸡汤。影片的出发点始终在人与人之间的隐秘感情，这大概也是为什么许多人会觉得《卡罗尔》拘泥于儿女情长。然而我欣赏托德海因斯的视角，因为我也认为，在庞大的社会机器里，只有人的感情是永远无法被定义的变量。无论多么“大格局”的政治抗争和社会批评，都起源于个体因不愿放弃私人情感而勇敢突破禁忌。
在电影的结尾，当特芮丝终于在宴会的人群中走向卡罗尔，这一次她的视线里终于没有了玻璃窗的阻隔，也没有了她的相机，她坦然地走向了卡罗尔。手持摄像摇晃的镜头从她的视角望出去，我们看到卡罗尔的微笑。
* 部分原文投稿于《大众电影》杂志
然而我认为，《卡罗尔》的格局并不小，它对政治和社会的批判只是没有在剧情大纲里直接表现出来而已。
实际上，电影的美学形式和内涵并不应该被泾渭分明的区分开来。《卡罗尔》对“大格局”的野心，恰恰体现在一些电影构图的小细节里：镜头下那些看似空洞的精致布景，可能蕴藏着丰富的象征，使电影表达的内涵远不限于剧本故事本身。而这其实才是电影有别于文学的独特魅力。
比如，《卡罗尔》中常出现一个有趣的取景角度：镜头常常是透过玻璃窗望向迷蒙的人物或城市街道的。那么这时常隔在视线中的玻璃窗应该被怎样解读呢？
1. 女性的困境
《卡罗尔》中的确没有激进的政治宣言，也没有热血的抗争，有的只是两位女主角之间静水深流的爱。然而，即使没有露骨地政治性批判，影片许多小细节都微妙地暗示了50年代美国女性的“不自由”。
鲁尼·马拉所饰演的百货公司售货员特芮丝在初见凯特所饰演的富裕家庭主妇卡罗尔时，调笑地说着，我很乐意带你去看我爱的火车模型，但现在我只能被困在这个洋娃娃专柜后。
当卡罗尔为了与女儿相见，只能同丈夫的家人一起用餐，她不断辩解着自己见的是心理理疗师而非医生。似乎在用一种间接隐晦但又毫无退让的方式坚持着自己的同性爱倾向并不是疾病。而极为讽刺的细节是，此时餐桌旁的电视里，某位名人正激昂地演讲着“自由”的美利坚所拥有的那个“自由”的未来。
50年代的美国女性已经拥有了选举投票权。但发生在60年代的，致力于解救中产阶级女性于家庭主妇命运的第二波女权主义，还远没有席卷美国。而一直要到80年代，女同性恋的权益才被纳入女权主义的讨论范围内。这些在法律上已拥有选举权的女性，看似已经身处在一个自由而平等的社会，然而卡罗尔显然并不“自由”。尤其当法律指认她的同性爱是道德问题，并剥夺她见女儿的权利时。
所以，当特芮丝坐在男性友人的汽车后座，隔着起雾的玻璃窗望向纽约夜间的街道和愉悦的行人时，或是当她站在卡罗尔家里，透过窗户望见正与丈夫纠缠吵闹地卡罗尔时——镜头的语言都是极富深意的。
表面上看来，她望向的“自由”的城市空间，或是她默默爱恋的人，就在她触手可及的地方。但如果她真的伸出手，触摸到的只能是冰冷的窗玻璃。
卡罗尔在与特芮丝分开后，正是经历了这样的幻觉和困境：她坐在汽车的后座，透过玻璃窗看见身着红衣的特芮丝行走在窗外的街道上。她的渴望已经近在咫尺，但她并不能真正得到。她能做的只有静坐在车里，继续前往裁决她命运的听证会。
从这个角度来看，影片中的玻璃窗可能象征着一种自由无拘束的幻觉，一种伪善的囚禁。换句话说，50年代的美国给女性开了一张“平等自由”的空头支票，自由对她们来说看得见却摸不着，她们依然在社会限制的眼光中周身不得动弹。而《卡罗尔》中频繁出现的玻璃窗意象，则是用艺术性的方式进行了类似的政治批评。
<图片1>
2. 都市人的孤独
但是，电影中的玻璃窗显然远不止一种解读的方式。在我看来，除了女权政治相关的批评之外，玻璃窗这个意象还使《卡罗尔》有了对城市生活的批判性思考。
电影中有两组相似的镜头，出现在卡罗尔两次与法律系统关于女儿抚养权的失败交涉后。镜头里，卡罗尔独自站或坐在落地玻璃窗后，窗外大街上匆匆行人的身影也隐约倒映在玻璃上。
于是镜头记录下的是一个忧郁的错觉：在窗玻璃的平面上，卡罗尔的影子与窗外行人的影子叠在一起，似乎正身处在窗外行人的包围之中；然而事实是她独身一人，与城市的人群远远相隔。这其实正是都市生活中人最容易产生的情感。穿梭在城市空间中的都市人每日要遇见许许多多的陌生人，然而个体的孤独却始终难解。
与此同时，卡罗尔与特芮丝身为陌生人的一见钟情，大概是对城市偶遇最浪漫的想象。但是电影并没有用很浓烈的笔墨刻画她们变得亲密的过程，一切是克制而隐秘的。
《卡罗尔》仅用几个简洁的场景就描摹出她们的心意相通：在卡罗尔与丈夫争吵后，我们看到的是她没有泪水的悲伤。然而目睹了一切后的特芮丝乘火车归家，身旁的窗玻璃上却影映着她哭泣的脸。
一个简单的镜头就已经述说了所有。特芮丝的悲伤显然是与卡罗尔的一种共情。虽然此时她与卡罗尔只是仅见过三面的“陌生人”，她却仿佛感同身受着卡罗尔的痛苦，并代替她流下了眼泪。
由此看来，在《卡罗尔》中，玻璃窗的意向是复杂的：它既映照了城市人群的孤独，也成为了照出都市人内心感情的镜子。
无论是哪一种解读，其实都不仅仅局限于两位女主人公之间所谓“私人”的爱情。这些细节所投射的其实是一些社会性的情感：“城里人”的孤独和对知己的渴求。这个“大格局”的主题在电影史上早已被讨论了千万遍，但《卡罗尔》的高明之处在于其注重视觉美感的隐晦处理。没有过多义正言辞的说教和矫情烂俗的桥段，孤独和爱都通过精妙的摄影构图和玻璃窗这个视觉主题来呈现，让观众自己去看去感受。
<图片4>
3. 电影艺术本身
然而，也许在大部分电影观众看来，《卡罗尔》中的玻璃窗到底意味着什么根本不重要。更重要的是，因为这些巧用玻璃窗的光影来拍摄的镜头，《卡罗尔》拥有了一种独特的美，并能让人置身一种怅然的情怀。
从某种程度上，其实无论是特芮丝手中的相机镜头，还是用以拍摄电影的相机镜头，都可以看做是一扇“玻璃窗”：特芮丝透过相机看到卡罗尔摄人心魄的美。而我们作为电影观众，透过托德海因斯的摄像机，看到的是一个能牵动人心弦的光影世界。
托德·海因斯本身就是一个影迷。他与所有观众一样，深深地迷恋着电影艺术的光影。《卡罗尔》复古的质感来源于胶片电影的独有魅力，同时也是导演继《远离天堂》之后，又一次对50年代好莱坞通俗喜剧大师道格拉斯·塞克的致敬。
关于塞克的电影，最著名的莫过于对比感强烈的配色。《卡罗尔》的色调是同样大胆的：从片中鲁尼·马拉常戴的那顶鲜艳的红黄相间的毛呢帽，到凯特·布兰切特雍容的衣着中点缀着的鲜橘色丝巾，总能成为纽约阴沉的冬天里亮眼的风景。
除了塞克，《卡罗尔》中两位女主人公的公路旅行也像是对著名女权电影《末路狂花》的致敬。只是与《末路狂花》中摧毁男权的旅程全然不同，当卡罗尔在愤怒中向偷窥她的私家侦探举起枪，那把枪里却并没有子弹。显然，在托德·海因斯的镜头下，卡罗尔与特芮丝并没有成为维权先锋。但海因斯用电影独特的美学形式书写了她们最美丽的感情，和最沉默的抗争。
无论是从女性主义角度的批评还是对城市生活的复杂刻画，《卡罗尔》首要顾及的从来不是政治正确和煲出正能量心灵鸡汤。影片的出发点始终在人与人之间的隐秘感情，这大概也是为什么许多人会觉得《卡罗尔》拘泥于儿女情长。然而我欣赏托德海因斯的视角，因为我也认为，在庞大的社会机器里，只有人的感情是永远无法被定义的变量。无论多么“大格局”的政治抗争和社会批评，都起源于个体因不愿放弃私人情感而勇敢突破禁忌。
在电影的结尾，当特芮丝终于在宴会的人群中走向卡罗尔，这一次她的视线里终于没有了玻璃窗的阻隔，也没有了她的相机，她坦然地走向了卡罗尔。手持摄像摇晃的镜头从她的视角望出去，我们看到卡罗尔的微笑。
* 部分原文投稿于《大众电影》杂志
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
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。
直男恋爱教学篇 送相机请附带胶卷好嘛
其实就是个很普通的爱情故事。很美，但美不代表好，凯特角色的缺乏脆弱性让她有些失真，鲁妮玛拉传情传神。演员，氛围，摄影，音乐，美术是加分项，但绝不是决定因素。它们只是定义了影片的基调。
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。
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。
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。
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。
已经闻到拿奖的气息了
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。
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。
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。
“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
比《断背山》差了五个《阿黛尔的生活》，就酱紫
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。
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。
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。★★★★
★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★
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。