CANNES.- While two films presented in the Official Competition (Hungarian Son of Saul and Italy’s my mother ) had already been received with enthusiasm, the first standing ovation of this year and almost all critical consensus reached with Carol , transposition of the great controversial and mythical Patricia Highsmith novel about a love between two women (Cate Blanchett and Rooney Mara ) directed by Todd Haynes.
As usual when a film gets here so much praise, and began to speak not only of possible awards at the close of the festival but even Oscar nominations for both protagonists and for the talented filmmaker as I’m Not There (also with Blanchett) and Far from heaven , another melodrama about the repressive and conservative 50s, which keeps enough points in common with Carol .
If the road movie Haynes seems clear and destined for success, the original book was completely different, as it was rejected by his editors by her lesbian (and with a happy ending that was inconceivable at the time of discrimination of sexual minorities) theme. Finally published in 1952 with another title ( The price of salt ) and signed with the pseudonym Claire Morgan. While it was a sales success among the gay community at the time, no reprints were made. Only in 1989 was published as Carol and the real name of the author, who wrote a foreword explaining the facts.
The story, set in New York in the early 50, describes the different views of Therese Belivet (Mara), employee of toy of a Manhattan shopping sector and Carol Aird (Blanchett), an elegant upper-class woman and mother of a little girl, but immersed in a marriage that abhors. When the husband (Kyle Chandler) is suspected relationship between them, hires a private detective, and with the evidence in hand, pursues legal attack to get custody of the daughter and discredit his wife while both lovers are thrown together on the road.
In his third appearance at Cannes (in 1995 introduced except in the Directors’ Fortnight and in 1998 he brought Velvet Goldmine to Competition), Haynes builds an exquisite film from the story, from the interpretative work and, above all, from the visual, with many images reflected in windows and mirrors (in the line of films by Wong Kar-wai) to give a texture and very particular aesthetic dimension: “We shot in Super 16mm because with cinematographer Ed Lachman wanted to get a different texture to the digital to the fingerprints of a finger to feel in a glass, so that it could live a very deep optical experience. The photos of Vivian Maier were also an important source of inspiration, “said Haynes.
The film, which in principle is due for release in Argentina scheduled for 16 July- It took more than 15 years working for the famous producer Christine Vachon and created no small stir not only by strong erotic scenes between Blanchett and Mara but also by statements that the winning Australian actress Oscar for Blue Jasmine I had done a few days ago to Variety. At the news conference, Blanchett said the concept and denied laughing to the publication: “They asked me if I had had sex with women and I said yeah Sex Part No. But that seems to never be printed anyway?. , in the 2015, who can care? “
On the nudity in film, Blanchett said” it is like going back to being a baby and you all look without clothes (laughs). It’s a little uncomfortable, but for me it was like doing a scene with a man, I have great respect and admiration for Rooney “. Mara, however, was more direct: “I appear naked on screen very often, so it was not unusual for me: a nice experience.” In this sense, Carol seems to follow the footsteps of The life of Adèle , Abdellatif Kechiche’s film also generated considerable controversy for its explicit scenes of lesbian love and then, He ended up winning nothing less than just two years the Palme ago Will history repeat itself?
The actress The Aviator and The Curious Case of Benjamin Button said that “when you work with such directors as Martin Scorsese or David Fincher you have to give everything and be prepared to enter their world. I read erotic novels all the time to understand the lesbian community, its isolation, its atmosphere. In that sense, work with Haynes was a gift so generous and collaborative. “.
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