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50年代的美国，年轻女子特芮丝（鲁妮·玛拉 饰）在纽约百货公司担任售货员，但心中向往的却是摄影师工作。某日，一位美丽优雅的金发贵妇卡罗尔（凯特·布兰切特 饰）来到百货公司购买圣诞节礼物，结果和特芮丝一见投缘。两人相识后特芮丝得知原来卡罗尔有一个女儿，而且正和丈夫哈吉（凯尔·钱德勒 饰）办理离婚手续。通过书信来往、约会相处以及公路旅行，特芮丝和卡罗尔发现彼此就是自己的真爱，然而在当时社会这是不被允许的。特芮丝的男友认为她只是一时迷惑，卡罗尔的丈夫则请私家侦探调查取证，希望在离婚诉讼中让她一无所有。考验两位女性的时刻终于到来了：在社会压力下她们能否坚守内心、不计代价的把感情路走到底？ 《卡罗尔》是美国著名独立导演托德·海恩斯的新作，入围第68届戛纳电影节主竞赛单元，获得最佳女主角奖。电影根据派翠西亚·海史密斯在1952年匿名发表的中篇女同小说《盐的代价》改编，由于题材敏感，最初出版社还拒绝发行。之所以叫“盐的代价”，因为在17世纪“盐”还有另一个意思表示女性的情欲。而在本书中它隐喻了女主们的处境：没有爱情就像没有盐的肉；那么为了这份爱，你愿意付出多少代价?鬼吹灯之怒晴湘西蔑视我和妻子的1778个故事肮脏的城市2024辽宁卫视春节联欢晚会让世界充满爱谁和她睡觉了金手套哮天神犬勇闯龙宫偶然的社长 第二季主厨的餐桌：烧烤因为初恋是第一次2我的公主星源之主斯特莱克探案集 第三季她的双眼背后第一季半边天自然之子女王的教室特别篇后篇～恶魔降临～手术室的故事第四季邪恶之眼忠奸人1997国语狄仁杰之夺命天眼瞄准南半球风车2023年轻人在此燃烧的青春老水仙蛇鹤丹心震九洲踮起脚尖吻到爱十三妹一千零一夜独酌男女天王拳1972饥饿的心家有穆珂海莉的牧场暖心圣诞磨坊无耻之徒第十一季塔拉德加之夜梅岭星火仇杀病房
50年代的美国，年轻女子特芮丝（鲁妮·玛拉 饰）在纽约百货公司担任售货员，但心中向往的却是摄影师工作。某日，一位美丽优雅的金发贵妇卡罗尔（凯特·布兰切特 饰）来到百货公司购买圣诞节礼物，结果和特芮丝一见投缘。两人相识后特芮丝得知原来卡罗尔有一个女儿，而且正和丈夫哈吉（凯尔·钱德勒 饰）办理离婚手续。通过书信来往、约会相处以及公路旅行，特芮丝和卡罗尔发现彼此就是自己的真爱，然而在当时社会这是不被允许的。特芮丝的男友认为她只是一时迷惑，卡罗尔的丈夫则请私家侦探调查取证，希望在离婚诉讼中让她一无所有。考验两位女性的时刻终于到来了：在社会压力下她们能否坚守内心、不计代价的把感情路走到底？ 《卡罗尔》是美国著名独立导演托德·海恩斯的新作，入围第68届戛纳电影节主竞赛单元，获得最佳女主角奖。电影根据派翠西亚·海史密斯在1952年匿名发表的中篇女同小说《盐的代价》改编，由于题材敏感，最初出版社还拒绝发行。之所以叫“盐的代价”，因为在17世纪“盐”还有另一个意思表示女性的情欲。而在本书中它隐喻了女主们的处境：没有爱情就像没有盐的肉；那么为了这份爱，你愿意付出多少代价?鬼吹灯之怒晴湘西蔑视我和妻子的1778个故事肮脏的城市2024辽宁卫视春节联欢晚会让世界充满爱谁和她睡觉了金手套哮天神犬勇闯龙宫偶然的社长 第二季主厨的餐桌：烧烤因为初恋是第一次2我的公主星源之主斯特莱克探案集 第三季她的双眼背后第一季半边天自然之子女王的教室特别篇后篇～恶魔降临～手术室的故事第四季邪恶之眼忠奸人1997国语狄仁杰之夺命天眼瞄准南半球风车2023年轻人在此燃烧的青春老水仙蛇鹤丹心震九洲踮起脚尖吻到爱十三妹一千零一夜独酌男女天王拳1972饥饿的心家有穆珂海莉的牧场暖心圣诞磨坊无耻之徒第十一季塔拉德加之夜梅岭星火仇杀病房
长篇影评
1 ) 世间纵有Therese千万，难寻Carol唯一
原文发在weibo。做了很细小的调整。发到这边。
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下午在电影院三刷完Carol，想来是时候好好的再写一篇影评了。而且是一篇Carol视角的影评。大概是看了太多人一边说着Carol实力撩妹，膝盖拿走，一边碎碎念着她是个渣攻。又或者大批的迷妹们一边被小白兔水汪汪迷恋的眼神感动的一塌糊涂，一边又抱怨着不知道Carol爱Therese啥，或批判着Cate过分刻意的演技。然而就像Cate说过的，电影的目的不是说教，而是激发你的情绪，思考，感官。所以我无意批判他人的观点，这是想从我的角度出发，聊一聊Carol到底为什么爱，怎么爱，又爱的多深。
很多人说，Carol不过是Les版的霸道总裁爱上我。但是，不管从什么程度上来说，Therese都不符合那些霸道总裁文里的傻白甜女主设定。人家不傻不白，老实说也不甜。而这些恰恰是Carol喜欢她的地方，也恰恰是Therese被形容为flung out of the space的原因。她年轻，没什么历练，第一次和Carol约会各种紧张显而易见。但是比起50年代的大多数传统女性对于自己的定位：嫁人，成为某某人的妻子，Therese不愿意。Therese不愿把自己定位在某某人女朋友，某某人妻子这样的角色上，她只想成为她自己，至于自己是怎么样，她一直在寻找。而这种不依附与他人（特别是男人）的自我认定也是这部剧里三位女主最相似，或者最有共鸣的地方。
1. Therese: 和Richard第一次吵架的起因是，Therese决定继续往摄影师方向努力，于是告诉Richard自己想要整理一下她的摄影集。然而Richard完全不care，直接打断，转了话题。而摄影师是Therese对于自己的定位之一（而不只是在商场卖娃娃）
2. Carol：Harge第一次出场时，他邀请Carol去某个party，他说：xxx的妻子邀请你…还没说完就被Carol打断，说：是Janette，xxx的妻子叫Janette。这里充分表现Carol多么反感用xxx的妻子来描述一个人。
3. Abby：Harge圣诞节闯到Abby家要人，说Carol不在家，不和自己一起，就一定和Abby一起。Abby说，是啊，你花了十年时间确保Carol的一切都是关于你。这里也表达的Abby是多么反感这种将禁锢在丈夫身边的婚姻。
4. Therese+Carol：Therese第一次去Carol家，被问到是否做摄影师。当时Therese的回答不是太有自信。但是Carol说，既然你想要，那么就去做，去努力，不用去怀疑自己的天赋。
说了那么多电影的细节，我想表达的就是，没错Carol和Therese来自完全不同的背景，有着完全不同的人生经历，但是，其实他们的自我认定是极为相似的。这不正是成为伴侣最基本的条件之一嘛。
虽然尽管如此，我也承认，和Therese不同，Carol最开始并非一见钟情，甚至有些调戏的意味在。这也就和不少人说的“Cate前半段的举手投足都看得出可刻意，后半段才发挥好 （从weibo上抄的原话）”搭上了。因为刻意的不是Cate，而是Carol。这种刻意也随着Carol自己的越陷越深慢慢消失殆尽。没错，最开始，从初遇，到第一次午餐，到送礼物，Carol的每一个眼神，撩头发的动作，居高临下俯视的姿态，都是一种刻意的调戏与勾搭。她喜欢Therese，并且一眼看出这孩子对她的痴迷，她甚至知道，自己不用全力以赴，就能得到Therese的欢心。Cate用精妙的演技表达出了Carol最初的那种带着强烈挑衅意味的漫不经心。最好的演技大概就是用来演一个演技有些差的人吧。但是是什么时候，这种漫不经心，这种刻意消失了？是在电话里说“ask, me, things”的时候？Therese送唱片的地方？还是两人试香水的暧昧桥段？又或是到最后的亲吻？又或者当时霸道的把新相机+胶卷丢在人家家门口的时候，已经不再是游戏了？老实说，我不知道，也许Carol也不知道。对Carol来说，当她明白过来时，才发现不知道哪一刻起，她不再只是单纯的想要调情，她对Therese的宠溺不再只是捕猎前的诱饵，收到礼物时的欣喜，和她一起时的快乐，都是那么真实，而非最初时那般拙劣的演技。但这才是真正的爱情不是吗？爱上就爱上了，又有哪段爱恋可以清楚的列下一二三的呢。而这种从有好感，调戏勾引，到最后的沦陷的过程，被导演，编剧，演员衔接的近乎完美。也就是为什么，这部看似情节简单的电影，却被誉为年度最佳之一。它把爱这种抽象的情绪，用镜头，用简单的日常生活，用眼神，用那些藏在只言片语里没来得及说出口的话，表达的清清楚楚。
然后就要来说，Carol到底多爱Therese。Cate在一个采访中提到的Carol的爱。我觉得总结的非常好。简单来说就是，因为年龄，Carol比Therese更有经验。爱是什么感觉，和同性相爱时什么感觉，这种爱的风险，后果是什么，作为母亲的感情等等，Carol清清楚楚。这些其实都是包袱。相比较而言，Therese就像每一个曾经的我们（这也是为什么我们这么容易在Therese身上找到自己），年轻，没有任何包袱，因为不知道为爱受伤的痛楚，所以可以全力以赴去爱。但是Carol是在背负这些所有的后果，了解了这些所有的得失之后，还是义无反顾的跳了进去。就像两人面前其实都是同样一份爱，而对于Therese，她看到是一条道路，以及道路尽头的Carol。她不知道自己能否触及，于是全力以赴的往前奔跑。而对于Carol，她面对的是一座悬崖，以及悬崖对面的Therese。在爱面前，她甚至失去的选择的能力。奋不顾身是她必然的结果。Carol为这份爱所赌上的是她的所有：家人，孩子，自尊。然而在最后的“I love you" 里。她失去了一切。
Carol本人又是骄傲的，在公开场合，她的头永远是略微向上抬的，导致她在和别人对话时总有种居高临下的姿态。但对于Therese，Carol爱的也许没那么自信。我们曾经玩笑的说，整部片子大概就是由无数个“would you”+ “Yes”组成的。但是你也许没注意到，每次Carol在向Therese提出各种要求或者邀请的时候，她的目光都是向下的，而非直视。这种不自信在两人回到NY后，Carol最后一次约Therese出来时，表现的更加明显。有意思的是，她在发出约会邀请时，那封信的开头依然是那么直截了当的“would you”，但和之前所有的见面，约会不同，这一次她早到了。镜头里的她打完电话，还是那么看似从容高傲的离开电话亭。转身看到正在入座的Therese。座位上Carol的大衣暗示着她早早就到了。所以当时Carol的表情应该是一个大写的“松了一个口气”吧。之后饭桌上对谈的每一个细节大概都是我对这部电影的最爱。但是不跑题，聊回最后一次的“would you”。和之前一样，这一次在她在描述新房子，以及发出邀请时，她眼神统统是往下的。更明显的是，她略微的语无论次，以及怕被人拒绝时最常用的一招，先把自己给拒绝了（I was hoping you might like to come and live with me, but I guess you won't.）。当得到拒绝的答复时，Carol发出了第二个补救的邀请。邀请她参加自己的聚会。而这一段邀请里，我看到的是Carol急促的呼吸声，闪烁的言辞，想微笑却只是微微扯动的嘴角，以及那快要哭出来的眼神。她不是在邀请，而是在绝望的乞求（顺便插一句，比起在律师办公室情绪爆棚的那一幕，这里隐藏在完美无瑕看似若无其事背后的崩塌才是Cate真正秀演技的时候）。当面对沉默时，Carol的那句That's that里，她已经放弃了。所以我不觉得最后那句I love you是为了让Therese重新考虑而增加的筹码，或者在无计可施后抛出的最后一击。这句话之所以这么震耳欲聋是因为，当Carol来见Therese前，她已经放下所有，抛弃了过去的自己（孩子留给了前夫，房子卖了，开始工作），她把所有的底牌都摊在Therese面前，这场赌博，Carol并没有给自己留后路，对Therese的爱是她所有赌注，以及现在的她所唯一拥有的。所以那一句I love you是她在认定自己输了之后，把自己唯一剩下的那份爱，那份赌注，也放下，交给了Therese。也就是为什么Cate不止一次提到说，她觉得，如果Therese没有回心转意，Carol的结局也许会是自杀（虽然理性看来，Carol的人设并不至于会使她走到这步）。因为离开餐桌时的Carol，不管她掩饰的多好（和Jack打招呼以及告别时从容），她是一无所剩的。
Carol最被人诟病的大概就是当初抛下Therese，从而得到“渣攻”的美誉。于是作为强迫症的我，必须要来说下，为什么Carol所做的正如她信里说的那样：她愿意去做任何事来换取Therese的幸福，而她当下她唯一能做的就是放手。当时Carol的选择并不多。我脑洞也不大，感觉比较合理的就下面几种：
1. 无视Harge的威胁。继续和Therese一起。这样结果是直接了当的：立刻失去Rindy，并且不可能有任何缓和的余地。母亲爱自己的孩子是天性。在Therese出现之前，Rindy是她的全部。如果Carol可以头也不回，就这么放弃Rindy的话，我不觉得她有能力好好爱Therese。
2. 一边处理和Harge的官司，一边继续偷偷和Therese一起。也许有些人觉得这是正确的选择，但是不管在哪个年代，在阴影下的爱恋永远是对双方的慢性自杀。这样和把Therese当作见不得人的情妇有什么区别。就像Carol信里说的，Therese还年轻，她的面前有无限可能，Carol若只是为了两人一起，而把这段关系不死不活的拖着，才是真的自私，不顾Therese。
3. 原剧情走向。事发之后，Carol从来没有怪过Therese。而我很喜欢那场Carol在车里安慰Therese的戏。尽管有着无限的温柔。她并没有把Therese当作小孩，或者傻白甜那么哄着。在Carol心里，两人的关系是对等的，所以她不需要用甜言蜜语去平复，只需认真的陈述这事实：“I took what you gave willingly, it's not your fault.” 而在我看来这句话也是很含蓄的告白。你爱我，我全然接受，因为我也爱你。这不是你的错。分离的伤痛对于Carol同样是致命的。而她同时还要面对伤害Therese所带来的负罪感，以及失去女儿后生活的无望。最重要的是，她不像Therese那么年轻，一切可以从头来过。然而，两人关系走到这步，Carol毫无怨言。她爱的很坦荡，哪怕面对律师与前夫，她也绝不把Therese当作一段不堪的过去。而再次出现在Therese面前向她发出邀请的Carol，是一个虽然有些破碎，但是准备好了的Carol。没有藕断丝连的过去，没有恼人的犹豫不决，干净利落把爱摊放在Therese面前。也是这样的爱和坦荡，让我觉得，她配得Therese所有的一往情深，以及每一句的“yes”。
最后，愿所有的Therese都能遇到那个Carol。而如果你有幸是那个Carol的话，也请你可以勇敢温柔对待那个对你一往情深的Therese。
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屁话那么多，结束前还是要感谢所有的主创带来这么精彩的作品。整部作品从原作，编剧，女主，制作人，场景设计，服装设计都是女性，而导演是妇女之友Todd。这样的成果才能让优秀的女性电影有更多的机会。所以与其吵吵嚷嚷着个人奖项，我更希望电影本身可以拿一些BP的奖项，以及Box Office可以有好看的数字（对不起，我就是这么肤浅！和你魔一样，一切朝钱看！！！）
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下午在电影院三刷完Carol，想来是时候好好的再写一篇影评了。而且是一篇Carol视角的影评。大概是看了太多人一边说着Carol实力撩妹，膝盖拿走，一边碎碎念着她是个渣攻。又或者大批的迷妹们一边被小白兔水汪汪迷恋的眼神感动的一塌糊涂，一边又抱怨着不知道Carol爱Therese啥，或批判着Cate过分刻意的演技。然而就像Cate说过的，电影的目的不是说教，而是激发你的情绪，思考，感官。所以我无意批判他人的观点，这是想从我的角度出发，聊一聊Carol到底为什么爱，怎么爱，又爱的多深。
很多人说，Carol不过是Les版的霸道总裁爱上我。但是，不管从什么程度上来说，Therese都不符合那些霸道总裁文里的傻白甜女主设定。人家不傻不白，老实说也不甜。而这些恰恰是Carol喜欢她的地方，也恰恰是Therese被形容为flung out of the space的原因。她年轻，没什么历练，第一次和Carol约会各种紧张显而易见。但是比起50年代的大多数传统女性对于自己的定位：嫁人，成为某某人的妻子，Therese不愿意。Therese不愿把自己定位在某某人女朋友，某某人妻子这样的角色上，她只想成为她自己，至于自己是怎么样，她一直在寻找。而这种不依附与他人（特别是男人）的自我认定也是这部剧里三位女主最相似，或者最有共鸣的地方。
1. Therese: 和Richard第一次吵架的起因是，Therese决定继续往摄影师方向努力，于是告诉Richard自己想要整理一下她的摄影集。然而Richard完全不care，直接打断，转了话题。而摄影师是Therese对于自己的定位之一（而不只是在商场卖娃娃）
2. Carol：Harge第一次出场时，他邀请Carol去某个party，他说：xxx的妻子邀请你…还没说完就被Carol打断，说：是Janette，xxx的妻子叫Janette。这里充分表现Carol多么反感用xxx的妻子来描述一个人。
3. Abby：Harge圣诞节闯到Abby家要人，说Carol不在家，不和自己一起，就一定和Abby一起。Abby说，是啊，你花了十年时间确保Carol的一切都是关于你。这里也表达的Abby是多么反感这种将禁锢在丈夫身边的婚姻。
4. Therese+Carol：Therese第一次去Carol家，被问到是否做摄影师。当时Therese的回答不是太有自信。但是Carol说，既然你想要，那么就去做，去努力，不用去怀疑自己的天赋。
说了那么多电影的细节，我想表达的就是，没错Carol和Therese来自完全不同的背景，有着完全不同的人生经历，但是，其实他们的自我认定是极为相似的。这不正是成为伴侣最基本的条件之一嘛。
虽然尽管如此，我也承认，和Therese不同，Carol最开始并非一见钟情，甚至有些调戏的意味在。这也就和不少人说的“Cate前半段的举手投足都看得出可刻意，后半段才发挥好 （从weibo上抄的原话）”搭上了。因为刻意的不是Cate，而是Carol。这种刻意也随着Carol自己的越陷越深慢慢消失殆尽。没错，最开始，从初遇，到第一次午餐，到送礼物，Carol的每一个眼神，撩头发的动作，居高临下俯视的姿态，都是一种刻意的调戏与勾搭。她喜欢Therese，并且一眼看出这孩子对她的痴迷，她甚至知道，自己不用全力以赴，就能得到Therese的欢心。Cate用精妙的演技表达出了Carol最初的那种带着强烈挑衅意味的漫不经心。最好的演技大概就是用来演一个演技有些差的人吧。但是是什么时候，这种漫不经心，这种刻意消失了？是在电话里说“ask, me, things”的时候？Therese送唱片的地方？还是两人试香水的暧昧桥段？又或是到最后的亲吻？又或者当时霸道的把新相机+胶卷丢在人家家门口的时候，已经不再是游戏了？老实说，我不知道，也许Carol也不知道。对Carol来说，当她明白过来时，才发现不知道哪一刻起，她不再只是单纯的想要调情，她对Therese的宠溺不再只是捕猎前的诱饵，收到礼物时的欣喜，和她一起时的快乐，都是那么真实，而非最初时那般拙劣的演技。但这才是真正的爱情不是吗？爱上就爱上了，又有哪段爱恋可以清楚的列下一二三的呢。而这种从有好感，调戏勾引，到最后的沦陷的过程，被导演，编剧，演员衔接的近乎完美。也就是为什么，这部看似情节简单的电影，却被誉为年度最佳之一。它把爱这种抽象的情绪，用镜头，用简单的日常生活，用眼神，用那些藏在只言片语里没来得及说出口的话，表达的清清楚楚。
然后就要来说，Carol到底多爱Therese。Cate在一个采访中提到的Carol的爱。我觉得总结的非常好。简单来说就是，因为年龄，Carol比Therese更有经验。爱是什么感觉，和同性相爱时什么感觉，这种爱的风险，后果是什么，作为母亲的感情等等，Carol清清楚楚。这些其实都是包袱。相比较而言，Therese就像每一个曾经的我们（这也是为什么我们这么容易在Therese身上找到自己），年轻，没有任何包袱，因为不知道为爱受伤的痛楚，所以可以全力以赴去爱。但是Carol是在背负这些所有的后果，了解了这些所有的得失之后，还是义无反顾的跳了进去。就像两人面前其实都是同样一份爱，而对于Therese，她看到是一条道路，以及道路尽头的Carol。她不知道自己能否触及，于是全力以赴的往前奔跑。而对于Carol，她面对的是一座悬崖，以及悬崖对面的Therese。在爱面前，她甚至失去的选择的能力。奋不顾身是她必然的结果。Carol为这份爱所赌上的是她的所有：家人，孩子，自尊。然而在最后的“I love you" 里。她失去了一切。
Carol本人又是骄傲的，在公开场合，她的头永远是略微向上抬的，导致她在和别人对话时总有种居高临下的姿态。但对于Therese，Carol爱的也许没那么自信。我们曾经玩笑的说，整部片子大概就是由无数个“would you”+ “Yes”组成的。但是你也许没注意到，每次Carol在向Therese提出各种要求或者邀请的时候，她的目光都是向下的，而非直视。这种不自信在两人回到NY后，Carol最后一次约Therese出来时，表现的更加明显。有意思的是，她在发出约会邀请时，那封信的开头依然是那么直截了当的“would you”，但和之前所有的见面，约会不同，这一次她早到了。镜头里的她打完电话，还是那么看似从容高傲的离开电话亭。转身看到正在入座的Therese。座位上Carol的大衣暗示着她早早就到了。所以当时Carol的表情应该是一个大写的“松了一个口气”吧。之后饭桌上对谈的每一个细节大概都是我对这部电影的最爱。但是不跑题，聊回最后一次的“would you”。和之前一样，这一次在她在描述新房子，以及发出邀请时，她眼神统统是往下的。更明显的是，她略微的语无论次，以及怕被人拒绝时最常用的一招，先把自己给拒绝了（I was hoping you might like to come and live with me, but I guess you won't.）。当得到拒绝的答复时，Carol发出了第二个补救的邀请。邀请她参加自己的聚会。而这一段邀请里，我看到的是Carol急促的呼吸声，闪烁的言辞，想微笑却只是微微扯动的嘴角，以及那快要哭出来的眼神。她不是在邀请，而是在绝望的乞求（顺便插一句，比起在律师办公室情绪爆棚的那一幕，这里隐藏在完美无瑕看似若无其事背后的崩塌才是Cate真正秀演技的时候）。当面对沉默时，Carol的那句That's that里，她已经放弃了。所以我不觉得最后那句I love you是为了让Therese重新考虑而增加的筹码，或者在无计可施后抛出的最后一击。这句话之所以这么震耳欲聋是因为，当Carol来见Therese前，她已经放下所有，抛弃了过去的自己（孩子留给了前夫，房子卖了，开始工作），她把所有的底牌都摊在Therese面前，这场赌博，Carol并没有给自己留后路，对Therese的爱是她所有赌注，以及现在的她所唯一拥有的。所以那一句I love you是她在认定自己输了之后，把自己唯一剩下的那份爱，那份赌注，也放下，交给了Therese。也就是为什么Cate不止一次提到说，她觉得，如果Therese没有回心转意，Carol的结局也许会是自杀（虽然理性看来，Carol的人设并不至于会使她走到这步）。因为离开餐桌时的Carol，不管她掩饰的多好（和Jack打招呼以及告别时从容），她是一无所剩的。
Carol最被人诟病的大概就是当初抛下Therese，从而得到“渣攻”的美誉。于是作为强迫症的我，必须要来说下，为什么Carol所做的正如她信里说的那样：她愿意去做任何事来换取Therese的幸福，而她当下她唯一能做的就是放手。当时Carol的选择并不多。我脑洞也不大，感觉比较合理的就下面几种：
1. 无视Harge的威胁。继续和Therese一起。这样结果是直接了当的：立刻失去Rindy，并且不可能有任何缓和的余地。母亲爱自己的孩子是天性。在Therese出现之前，Rindy是她的全部。如果Carol可以头也不回，就这么放弃Rindy的话，我不觉得她有能力好好爱Therese。
2. 一边处理和Harge的官司，一边继续偷偷和Therese一起。也许有些人觉得这是正确的选择，但是不管在哪个年代，在阴影下的爱恋永远是对双方的慢性自杀。这样和把Therese当作见不得人的情妇有什么区别。就像Carol信里说的，Therese还年轻，她的面前有无限可能，Carol若只是为了两人一起，而把这段关系不死不活的拖着，才是真的自私，不顾Therese。
3. 原剧情走向。事发之后，Carol从来没有怪过Therese。而我很喜欢那场Carol在车里安慰Therese的戏。尽管有着无限的温柔。她并没有把Therese当作小孩，或者傻白甜那么哄着。在Carol心里，两人的关系是对等的，所以她不需要用甜言蜜语去平复，只需认真的陈述这事实：“I took what you gave willingly, it's not your fault.” 而在我看来这句话也是很含蓄的告白。你爱我，我全然接受，因为我也爱你。这不是你的错。分离的伤痛对于Carol同样是致命的。而她同时还要面对伤害Therese所带来的负罪感，以及失去女儿后生活的无望。最重要的是，她不像Therese那么年轻，一切可以从头来过。然而，两人关系走到这步，Carol毫无怨言。她爱的很坦荡，哪怕面对律师与前夫，她也绝不把Therese当作一段不堪的过去。而再次出现在Therese面前向她发出邀请的Carol，是一个虽然有些破碎，但是准备好了的Carol。没有藕断丝连的过去，没有恼人的犹豫不决，干净利落把爱摊放在Therese面前。也是这样的爱和坦荡，让我觉得，她配得Therese所有的一往情深，以及每一句的“yes”。
最后，愿所有的Therese都能遇到那个Carol。而如果你有幸是那个Carol的话，也请你可以勇敢温柔对待那个对你一往情深的Therese。
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屁话那么多，结束前还是要感谢所有的主创带来这么精彩的作品。整部作品从原作，编剧，女主，制作人，场景设计，服装设计都是女性，而导演是妇女之友Todd。这样的成果才能让优秀的女性电影有更多的机会。所以与其吵吵嚷嚷着个人奖项，我更希望电影本身可以拿一些BP的奖项，以及Box Office可以有好看的数字（对不起，我就是这么肤浅！和你魔一样，一切朝钱看！！！）
2 ) 就算哪里也抵达不了，凝视也可以终身陪伴
这是一篇迟到了3个多月的观后感。即使那时所能看到的还只是枪版渣画质，《卡罗尔》一样轻松从第一个跟拍的长镜头就击中我。当它描绘了爱，就有爱。接下来的三个月，等着蓝光版的同时一遍遍循环原声，看完了原著小说。
它是会被一直放在心里惦记着的电影，是一小块柔软。就好像一月初的时候有天一个人走在热带午后的阳光下，《Opening》的提琴声又响起，瞬间清凉静默，揪心感堪比《Summer Palace》里的《Solo Por Tu Amor》，都是面对时屏息凝气的河流。听着它，只想要弯腰蹲下。
若说它是部缠绵悱恻的电影，不如说无疑更近乎艺术上的灵感。它伸出温柔的手揪住你的心，用嘴唇碰着耳垂低语，它与你无条件的亲密。
这是一个旁若无人的故事，其他角色都被淡去（即使在原著小说中有着完整的表述），只有两个人的深深凝视。看了几遍，始终觉得存在着一个 什么 ，却没法说出。直到想起村上春树的《斯普特尼克恋人》才明白。
在《卡罗尔》里，作为观众的我一直为“自己“的缺失而稍觉遗憾。这段感情太完美，细节和角色都丰富到不再有可补充的想象空间，甚至容不下观众自然而然的代入感。应该存在一个第三人的视角，亲密又观望这两人的视角，让由眼神和温度组成的密度爱情有梯可攀，成为固体的现实效用。
斯普特尼克，村上君说它在俄语里是 traveling companion 的意思——‘旅伴’。孤独的炽烈的卫星旅伴。同样讲年轻女孩对年长女人的爱恋，暮色中摇曳着及膝白裙走下石阶的敏，与目光如炬优雅魅惑的卡罗尔。苦于写不出作品的写作者堇与不会拍人像的摄影师特芮丝。相同的旅行经历与相似的错失。村上的清爽与托德·海因斯的粘稠，长茎植物与阴雨天气。
《斯普特尼克恋人》中第一人称的“我”，正是这样的存在。对堇怀有深深的爱恋，确认因为她而扩展了所属世界的外沿，被她所信赖，却不对作为男性的“我”怀有兴趣。“我”是堇与敏感情的唯一知情者，甚至比两人还要知晓其中含蕴。（当然也是小说心理描述的主要依托者）。因为有“我”这一完整的形象，《斯普特尼克恋人》得以从另一较为冷静视角叙事，“我”是读者进入作品时的栖身之所，也是所能到达的最近距离。于是那时看完小说我说：“觉得自己偶尔是堇，更多时候是’我’，但从来不是敏。”
也是因为有了《斯普特尼克恋人》文字的准确描写，才可以将《卡罗尔》中的情感成字成句。甚至，这样的对比较电影改编与原著小说的对比更加有趣。因为它不仅仅是情节对照，更多是情绪共鸣。
初次约会吃饭，特芮丝要服务生照着卡罗尔点的餐给自己也上一份。堇也是如此，学敏的样子拿起酒杯小心翼翼啜一口葡萄酒。
卡罗尔对特芮丝说：“What a strange girl you are, flung out of space. ”堇对敏说：“这以前，我一次也没考虑过要成为自己以外的什么人。但现在有时很想成为你那样的人。”
《斯普特尼克恋人》里讲“我”质疑堇对敏的感情：
我开口道：“你在敏身上感觉到的是性欲这点不会有错？” “百分之百没错。”堇说，“一到她面前，耳朵里的骨头就咔咔作响，像用薄贝壳做的风铃。而且有一股想被她紧紧搂抱的欲望，想把一切都交付给她。如果说这不是性欲的话， 我血管里流淌的就是番茄汁。”
以此再看特芮丝的从不拒绝和抿着嘴的坚定神情，便总在幻想她此时耳朵里的声音。
还有一处，原著里写到特芮丝意识到自己的变化。变胖了一些，但是脸庞越来越小，，她感到高兴，为自己越来越成熟。村上的写法是：
“最近的你，一次见面一个样，越来越难认了。”我说。
“正赶上那种时期。”她用吸管吸着果汁，像说与己无关的事。
女王自不必说，每一个细节都性感得让人动弹不得（尤其是对妹子们来说），鲁妮·玛拉的表演也有着文学性的优美。在副驾偷偷打量卡罗尔时眼中的惊喜，对坐要给卡罗尔拍照时边撒娇边不自觉的一跃，卡罗尔走后下车奔向路边呕吐。还有每一个痴迷的眼神。
不得不说到两个人的床戏，看时全部的观感都是感动。唯如此，这段感情才是完整的。村上这样写堇与敏：
敏不知如何回答，正犹豫着，堇已伸出手，握住她的手。手心也有汗感。手暖融融软乎乎的。随后，堇双手拢住敏的背，乳房贴在敏腹部偏上一点儿的位置，脸颊放在敏双乳之间。两人长时间以如此姿势躺着。这工夫，堇的身体开始微微颤抖。敏以为堇要哭，但似乎哭不出。她把手绕到堇肩上，搂近一些。还是孩子，敏心想，又孤单又害怕，渴望别人的温存，像紧紧趴在松树枝上的小猫一样。
堇把身体往上蹭了蹭，鼻尖触在敏脖颈上。两人乳房相碰。敏咽下口腔里的唾液。堇的手在她背部摸来摸去。
“喜欢你。”堇小声细气地说。
“我也喜欢你的。”敏说。此外她不晓得怎么说好，而且这也是实话。
与卡罗尔所说的“My angel, flung out of space. ”功效完全一致。
村上容易写情感的退潮或者说是冷静，每当这时，故事就退居到迫切想同自己的汹涌欲望单独相守的“我”。在对琐事的不厌其烦的细致描写中完成自我建设。即使有时结论仍是“我是多么的需要堇。”这在《卡罗尔》里面被表现得很淡。托德·海因斯的情感退潮，是隔着玻璃、镜头、人群、画外等介质，脱离空间存在感的疏离。此时的特芮丝更像经过了一场高烧后的清醒。
不管是在新的一天起身归拢这颗以孤独为养料运转的行星的残片，还是特芮丝脚步踉跄的穿过人群走向卡罗尔。就算哪里也抵达不了，凝视也可以终身陪伴。
它是会被一直放在心里惦记着的电影，是一小块柔软。就好像一月初的时候有天一个人走在热带午后的阳光下，《Opening》的提琴声又响起，瞬间清凉静默，揪心感堪比《Summer Palace》里的《Solo Por Tu Amor》，都是面对时屏息凝气的河流。听着它，只想要弯腰蹲下。
若说它是部缠绵悱恻的电影，不如说无疑更近乎艺术上的灵感。它伸出温柔的手揪住你的心，用嘴唇碰着耳垂低语，它与你无条件的亲密。
这是一个旁若无人的故事，其他角色都被淡去（即使在原著小说中有着完整的表述），只有两个人的深深凝视。看了几遍，始终觉得存在着一个 什么 ，却没法说出。直到想起村上春树的《斯普特尼克恋人》才明白。
在《卡罗尔》里，作为观众的我一直为“自己“的缺失而稍觉遗憾。这段感情太完美，细节和角色都丰富到不再有可补充的想象空间，甚至容不下观众自然而然的代入感。应该存在一个第三人的视角，亲密又观望这两人的视角，让由眼神和温度组成的密度爱情有梯可攀，成为固体的现实效用。
斯普特尼克，村上君说它在俄语里是 traveling companion 的意思——‘旅伴’。孤独的炽烈的卫星旅伴。同样讲年轻女孩对年长女人的爱恋，暮色中摇曳着及膝白裙走下石阶的敏，与目光如炬优雅魅惑的卡罗尔。苦于写不出作品的写作者堇与不会拍人像的摄影师特芮丝。相同的旅行经历与相似的错失。村上的清爽与托德·海因斯的粘稠，长茎植物与阴雨天气。
《斯普特尼克恋人》中第一人称的“我”，正是这样的存在。对堇怀有深深的爱恋，确认因为她而扩展了所属世界的外沿，被她所信赖，却不对作为男性的“我”怀有兴趣。“我”是堇与敏感情的唯一知情者，甚至比两人还要知晓其中含蕴。（当然也是小说心理描述的主要依托者）。因为有“我”这一完整的形象，《斯普特尼克恋人》得以从另一较为冷静视角叙事，“我”是读者进入作品时的栖身之所，也是所能到达的最近距离。于是那时看完小说我说：“觉得自己偶尔是堇，更多时候是’我’，但从来不是敏。”
也是因为有了《斯普特尼克恋人》文字的准确描写，才可以将《卡罗尔》中的情感成字成句。甚至，这样的对比较电影改编与原著小说的对比更加有趣。因为它不仅仅是情节对照，更多是情绪共鸣。
初次约会吃饭，特芮丝要服务生照着卡罗尔点的餐给自己也上一份。堇也是如此，学敏的样子拿起酒杯小心翼翼啜一口葡萄酒。
卡罗尔对特芮丝说：“What a strange girl you are, flung out of space. ”堇对敏说：“这以前，我一次也没考虑过要成为自己以外的什么人。但现在有时很想成为你那样的人。”
《斯普特尼克恋人》里讲“我”质疑堇对敏的感情：
我开口道：“你在敏身上感觉到的是性欲这点不会有错？” “百分之百没错。”堇说，“一到她面前，耳朵里的骨头就咔咔作响，像用薄贝壳做的风铃。而且有一股想被她紧紧搂抱的欲望，想把一切都交付给她。如果说这不是性欲的话， 我血管里流淌的就是番茄汁。”
以此再看特芮丝的从不拒绝和抿着嘴的坚定神情，便总在幻想她此时耳朵里的声音。
还有一处，原著里写到特芮丝意识到自己的变化。变胖了一些，但是脸庞越来越小，，她感到高兴，为自己越来越成熟。村上的写法是：
“最近的你，一次见面一个样，越来越难认了。”我说。
“正赶上那种时期。”她用吸管吸着果汁，像说与己无关的事。
女王自不必说，每一个细节都性感得让人动弹不得（尤其是对妹子们来说），鲁妮·玛拉的表演也有着文学性的优美。在副驾偷偷打量卡罗尔时眼中的惊喜，对坐要给卡罗尔拍照时边撒娇边不自觉的一跃，卡罗尔走后下车奔向路边呕吐。还有每一个痴迷的眼神。
不得不说到两个人的床戏，看时全部的观感都是感动。唯如此，这段感情才是完整的。村上这样写堇与敏：
敏不知如何回答，正犹豫着，堇已伸出手，握住她的手。手心也有汗感。手暖融融软乎乎的。随后，堇双手拢住敏的背，乳房贴在敏腹部偏上一点儿的位置，脸颊放在敏双乳之间。两人长时间以如此姿势躺着。这工夫，堇的身体开始微微颤抖。敏以为堇要哭，但似乎哭不出。她把手绕到堇肩上，搂近一些。还是孩子，敏心想，又孤单又害怕，渴望别人的温存，像紧紧趴在松树枝上的小猫一样。
堇把身体往上蹭了蹭，鼻尖触在敏脖颈上。两人乳房相碰。敏咽下口腔里的唾液。堇的手在她背部摸来摸去。
“喜欢你。”堇小声细气地说。
“我也喜欢你的。”敏说。此外她不晓得怎么说好，而且这也是实话。
与卡罗尔所说的“My angel, flung out of space. ”功效完全一致。
村上容易写情感的退潮或者说是冷静，每当这时，故事就退居到迫切想同自己的汹涌欲望单独相守的“我”。在对琐事的不厌其烦的细致描写中完成自我建设。即使有时结论仍是“我是多么的需要堇。”这在《卡罗尔》里面被表现得很淡。托德·海因斯的情感退潮，是隔着玻璃、镜头、人群、画外等介质，脱离空间存在感的疏离。此时的特芮丝更像经过了一场高烧后的清醒。
不管是在新的一天起身归拢这颗以孤独为养料运转的行星的残片，还是特芮丝脚步踉跄的穿过人群走向卡罗尔。就算哪里也抵达不了，凝视也可以终身陪伴。
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 ) 《卡罗尔》观后感——电影VS原著
【详细剧透】（改了很多遍，每次重温又加了新的东西，逻辑可能有些混乱，希望大家原谅）
10月27日，我独自飞到了阿德莱德，看了《卡罗尔》最后一场电影节的点映。平息了一晚上激动的心情，整理了一下思绪，想把此刻的感受留下来一点。
1.关于电影对原著的修改
电影对于原著的修改大部分还是令我比较满意的。比如 Therese的职业从舞台设计师变成了摄影师；Therese第一次跟Carol产生联系，不再是因为傻乎乎地寄了贺卡过去，而是因为Carol把手套忘在了柜台；而Therese和 Carol互换的圣诞礼物，也从昂贵的手包 /刻着Therese 姓名首字母的旅行箱，变成了更有情调的唱片 /相机（及无数胶卷）。这些在某种程度了弥补的原著中对于两人感情线索描述的缺失。
然而关于改动的地方，不满的在于滑铁卢告白段，基本全部删掉，原著中 Carol淡定而温柔的那句“ Don’t you know I love you? ” 多么经典，以及第二天早上那种欣喜的久久拥抱，全都没有了。只保留了床戏的那一句， ”My angel, flung out of space” 。
在私人侦探的那个部分， Carol没有书里的那种勇敢坚定赌一把试试的决心，只有慌乱和不知所措。最后在争夺孩子的抚养权时候，Carol并非只因为Therese而放弃，而更是为了给孩子更好的生活而放弃，把母亲的身份放大了不少，而减弱了那份她勇敢追求“非凡”爱情的勇气。这些算是比较不满意的地方。
说起滑铁卢告白这一段，因为最喜欢原著中的这段，反复读了很多遍，一直以为会原样保留在电影中，所以看到 Waterloo的路标出现的时候，心里就激动的不行。可惜的是这一段并没有保留下来。两个人在滑铁卢时是新年夜，互诉了一下因为有彼此陪伴就不孤独之类的鸡汤话之后，凯特就把浴衣带子解开，然后低头吻了 Therese。吻之前那呼之欲出的暧昧情欲非常抓人，吻得那一刻我深吸了一口气。虽然床戏很美很动人，但我更喜欢原著中那种更加克制的表达。
原著中的 Therese在那一天困得不行了，仿佛马上就要睡着还一直睡眼惺忪地看着 Carol，看着看着感情就堆积到了喉咙口，一张嘴，就倾泻而出了。那样的自然而然，让我非常感动。而 Carol更是沉默而淡然的继续收拾着行李，收好后，走过来按着Therese的肩膀，给了她一个吻，“仿佛他们已吻过了千百遍”（Then she kissed Therese on the lips, as if they had kissed a thousand times before），然后Carol说，你难道不知道我也爱你么？
而且第二天早上，电影中的 Therese从床上醒来，看到立在床前的 Carol问她这是哪里，Carol说这里是滑铁卢，然后表示，（竟然是滑铁卢，）这是个多糟糕的事儿啊，大笑。这里也更喜欢原著中的情节，第二天早上， Therese买了份报纸回来，看到在浴室中的Carol，于是把她从头到脚地认真看了一遍，有种很美梦成真的欣喜感。而Carol只是紧紧地把她搂进怀里，两个人深深地拥抱，“就像她们再也不会分开”。
书中，跟侦探对峙之后Carol本来铁了心决定跟Therese继续旅行下去，但后来迫于无奈先回去解决抚养权的问题，承诺了会回来找Therese。而Therese一个人逗留在她们分别的地方打工，跟Carol保持通话、通信，等待Carol。电影受篇幅所限，Carol直接不辞而别地回去了，剩下老朋友（兼旧情人）Abby善后，只留下了一封信，有点儿“渣”地说，你寻找问题的答案，只因为你还小。总有一天你会长大，寻找到新的幸福，到那时，我希望你想象我也在那里祝福着你。但我们不能再联络了....诸如此类，说的很冷静而有距离感，显得既不真诚也不深情，只是一些漂亮的话。书中描写道，正是这种与距离感的冷静，深深地刺伤了Therese。
但是反而是这样快速的转折，让我们看到了整部影片中一直没有说出“I love you”的Therese的深情。一下从幸福的高空摔到了现实冰冷的地上，Therese就像主心骨瞬间被抽走一样，整个人狼狈不堪、失魂落魄。坐着坐着车就跑到寒风中去呕吐不止，一个人坐在床上恍恍惚惚，对着电话默默呢喃很多遍 I miss you，在暗房冲洗着Carol的照片看的出神……
书中的Therese是比较主动的，虽然一直是Carol在约她出去吃饭，邀请她去旅行，但是Therese在感情上是毫无保留的，但凡是Carol邀约，绝不拒绝，毫无保留地赞美Carol，表达自己对于能见到她的欣喜，甚至主动地说了那句我爱你。但是影片中的Therese则是显得比较弱势的一方，基本上是一味地接受Carol。书中的Carol是表现得比较淡然的，以致于Carol刚开始邀请Therese旅行的时候，T直接拒绝了，因为她觉得Carol只是出于礼貌地询问她而已。而电影中Carol基本上一出场，语气神态中就带着一股挑逗的感觉（可能也是阶级导致的习惯性放电？），从始至终她对Therese都是很主动而强势的。而从Harge对Carol一开始的指控来看，他都能感觉到Carol一开始把这个售货小姐带回家，就心怀不轨了。
关于性爱的部分。书中的Therese和男朋友Richard有过几段性爱，但是都不太愉快，所以让Therese觉得这感觉很不对（直到跟Carol滚了床单才觉得“没有比这更对”），而Carol一开始则是鼓励T去多加尝试。但是在电影中，从T和Richard的对话中，暗示出了T还没有跟Richard发生过肉体上的关系。所以Therese是将她最美好的一夜留给了Carol，并阻止了想去关灯的Carol，说“我想能看着你”。无论是在书中还是电影里，Therese都是一个很用力在感受的人，比起跟Carol聊天，她更喜欢沉默地感受、记忆着此刻的那种感觉和心情，即使是床上的这一刻也不例外。
影片将本来是在滑铁卢应该说出的“I love you”放到了最后，似乎能感觉到导演的用意，大概是让本来还拒绝同居的Therese突然的回心转意显得更有说服力些。因为Therese本身是拒绝的，大概是报复Carol之前对她的放弃，然而在听到Carol终于说了那句我爱你之后，便开始一直魂不守舍，最终去寻找Carol。屏气凝神的对视，太美了。
2.关于电影本身
除去对原著的感情，单看电影，感觉最深的就是美。
配乐，色调，拍摄手法，无不透着一股复古而简约的气息。故事也是主次分明，基本都在拍摄两个女人，剩下的诸如前男友、旧情人、侦探律师还有女儿的戏份都精简到了极致，甚至Therese全剧都没有跟Carol的女儿互动过。
看电影前最期待的是沉默的戏份。因为书中Carol和Therese在表白之前，对话是比较少的，基本都是Carol在讲，而Therese则在飘飘乎神游，感受和幻想关于Carol的一切。采访时候鲁妮说这些沉默其实是很重要的，所以电影里都有所保留，虽然话语不多，但其实是暗流汹涌，推动着两个人的关系的。所以，一直很好奇电影会怎样处理这些沉默的戏份。
看完后觉得，在第一次Carol接Therese去她家的那一段沉默，处理得非常美。直接把Carol说的话和一切别的噪音切到了次要的音轨上了，就像来自另一个世界般遥远，而主要的轨道在播放着缓慢却欢快的音乐，镜头停留在望向窗外的Therese的脸上，带着甜蜜的笑意，在重新感受这个世界。
二刷之后，有一幕在第一次看时没有特别留意，这次却格外触动：在他们被侦探发现之后，Therese把枪扔掉往回走，却看到Carol已经在电话亭跟Abby亲密地讲电话倾诉，她那时的眼神特别的失落而无助。我想Therese一直很想参与到Carol的生活当中，想帮她分担，想为她在寒风中买香烟，希望能够改变她失去领养权的问题，但她什么也做不了，当出现大事时，Carol第一个求助的依然是旧情人Abby——她无法成为Carol的依靠，所以这一切是不是仅仅是一场露水之缘。在她们第一次吃完饭，她见到Carol上了Abby的车就开始放声大笑，那笑是Therese没见过的，那一刻她就已经怅然若失了。
这时，又觉得海因斯将那句“I love you”放在影片最后是一个很巧妙的安排，因为Carol之前没有表达过这份感情，所以Therese在Carol不辞而别后一定是对她怀疑的，她没法去相信Carol对她的感情是爱，而不止是那脆弱时期的精神和肉体的排遣。所以最后两人约见时，Therese的眼神从未有过地咄咄逼人，那眼神里有拷问，有愤怒，有幽怨，也不服输，不愿意和Carol对视的时候败下阵来。而这场势均力敌的对视，在Carol说出我爱你后，慢慢地倒塌了，Therese的眼神又变得惊讶，犹豫，无措，可还没来得急犹豫出一个结果，这一切就被打断了——对于没有看过原著的观众来说，这一刻一定是万分揪心的。
虽然对于电影对原著的改编，以及对布兰切特的表演，都有点小小的失望。但是对电影本身，却是无比满意的，那种美感营造的非常好，以至于我看着看着就不自觉地笑，觉得很满足。最棒的大概就是音乐了，在还没上映前，听着流出来的配乐就觉得已经要哭了。那种感觉啊，又甜蜜又心酸。
叙事手法上，采用的是倒叙，先拍的是久别重逢的两人，然而才引入的故事本身。这个地方，一开始不是特别懂他的用意，后来被科普到实际上首位两段机位不同，也算暗藏玄机，而开头看似平淡的吃饭场景在结尾处方揭示出原来暗波汹涌。据说这个开头在致敬《相见恨晚》，由第三人的视角来进入故事。二刷之后我也感觉到，观众让第三人慢慢领进这个只属于两个人的故事，感觉很美妙，而在Therese坐上车，突然忆起第一次见到Carol的场景，更是让人一开始就被丰沛的感情所冲击，猝不及防，又紧张万分。
3.关于演员
看完书的时候，就觉得布兰切特简直就是Carol从书里走了出来。成熟，优雅，神秘，连对外貌的描述都一样：金色微卷的头发，眼角的皱纹，灰色而极具洞察力的瞳孔，还有充满秘密的声线。
所以，一开始我觉得无论如何凯特都不会是让我失望的那一个，但是结果却是有些失望的。布兰切特对Carol的诠释，或者说海因斯对Carol的诠释，在我看来有点过了。我心目中的 Carol是温柔而坚定，自信但又内敛的，但电影里的 Carol却带着一股咄咄逼人和漫不经心。在玩具店的谈话，用脚推着箱子给Therese送礼物等等场景，都有一些挑逗的意味在里面；即使是最后邀请同居后说出的那句“I love you”，都不是我想要的感觉，因为语气不像是思念牵挂，更像是一种拿出最后筹码孤注一掷的决绝，还带着一点小小的自信。
但通过 @同志亦凡人中文站的解释，又觉得布兰切特或者说导演本人大概也是对书中的Carol有了另外的一种理解吧。粘贴一下小站君的评语：“因为鲁尼演得很柔软，所以布兰切特就要演得很张扬吧，这种迎合型表演其实也是导演追求的效果。那种高高在上的端的感觉就像是赋予她的坚强外壳，让她可以面对外面世界的蜚短流长。只有在 Therese面前你能感觉到她的柔化（但依然还会维持 apperance）。最后一个镜头就非常明显，在上流晚宴中她和一堆男人交谈自若神采飞扬，可是和 Therese一个对视整个人立刻沉静了。”
也许本身不是凯特演技的问题，只是我心中的Carol并没能跟她想演出来的Carol所重合吧。不过，像和律师对峙，和女儿告别，以及失神落魄的那几场戏，还是很精彩的，在《蓝色茉莉》中就挑战过落难贵妇的凯特，对于这些大概早已驾轻就熟。
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凯特最精彩的表演，就是分手后在车上看到了蜕变后的Therese的那种表情，怀念，惊喜，心痛，很多复杂的感情，都交织在那充满了秘密的灰色瞳孔里。她目光里那种不着痕迹的找寻，终于让她最后放弃抚养权和勇敢追回Therese的转变有迹可循。
我心中的Carol应该是什么样子呢？我想没有比下面这张图片能更好地说明了：温柔、从容、内敛。对我来说，也许布兰切特本人比海因斯的Carol，更像Carol吧。
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最想说的是鲁妮·玛拉，她的表演相当精彩，堪称惊艳。毫无疑问应该是明年奥斯卡影后。我相信每一个在十几岁的时候深深暗恋过一次的人，都能在她的表演中获得共鸣。不管是紧张而甜蜜的羞涩，还是失望无助的哭泣，都相当的引人怀想。几次玛拉的那种痴汉表情，都逗笑了电影院里的人，十分可爱，又让人心疼不已。
一开始我觉得凯特像是Carol从书里走出来，但看完了电影，觉得真正从书里走出来的，其实是Therese。从第一次看见Carol那种被吸引的样子，到一起吃饭时候略显局促的小动作，包括船戏时候的紧张期待，被Carol抛弃时候的失魂落魄，被最后被告白时候的恍惚……等等等等，都把一个19岁少女的复杂而青涩的感觉表现得淋漓尽致。
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想起鲁尼·玛拉曾用颤抖的声音说，13岁时候看了《伊丽莎白》就爱上了布兰切特，排队买票看她的电影，也正因为她走上了演艺之路。30岁的现在终于和自己的偶像一起拍戏了，我想拍戏的时候她是真的爱上了布兰切特，才能把那些心情那些眼神表现得那么真实，她一定也想到了自己的青春岁月，所以才能勾起我们对青春岁月的怀想。
暗恋的感觉太久远，但全部都被鲁妮的表演唤醒了，于是我对鲁妮除了欣赏，也多了一份感激。之前流出Therese偷偷拍Carol的那段clip时，就有一个朋友豆邮我，说她看了这一小段就感动的要落泪的，还说，但凡你也曾这么痴汉地看过一个人，就一定能懂的。我觉得期待着这部电影的豆友们应该都有过这么一段感情吧，所以，我相信大家都能从鲁妮的表演中收获那种感动。
观影后记
从小站君那里得知阿德莱德电影节正在放映《卡罗尔》之后，心里激动地不行，经过了短暂的犹豫，就订了机票去成为全球首批观影者了。
适逢期末，身上压着好几个论文没写，又花了不小一笔钱，还一通舟车劳顿。可在看完电影之后，就觉得一切都值得了。片尾曲响起来的那一刹那，有种喘不过气来的感觉。毕竟是期待了这么久的电影呀，去之前我就在想，即使正片只是把预告连放20遍，我也依然会觉得欣喜与感动。出了电影院，已经晚上11点多，在几乎没有人的街道上边走边跳，一直在傻呵呵地笑。
从来没有这样期待过一部电影，从来没有干过这么疯的事，也从来没有这样满足过。冷静下来想，其实影片有很多让我不满意的地方，可是就连这不满意的地方，都让我觉得是完美中必备的小小遗憾。
睡了一觉醒来，我跑到阿德莱德市中心的公园里，突然想起来很多年前曾经看过的一篇小说，叫《边缘》，觉得跟《卡罗尔》给我的感觉略有相似，忍不住找出来坐在公园里默默地又读了一遍，依然收获了当年的那种感动。抬起头来已经下午四点了，看着阿德莱德一尘不染的天空，心里好多种心情，说不清楚，但最多的还是幸福。
现在我正在阿德莱德的机场等待回家的飞机，觉得活着真好啊。希望我的飞机能平安落地。
——————————————2.5日更新番外————————————————
（一月底跟我彼时的女朋友老李又一起看了一遍，然后写了一篇《老李完美解读<卡罗尔>中的卡罗尔》，让老李从一个御姐的角度给大家解读一下卡罗尔。原文地址：http://www.douban.com/note/538544979/）
下面，为大家转述一下老李是怎样完美地解读了《卡罗尔》中的卡罗尔：
1.卡罗尔为什么喜欢Therese
一直以来我就感觉，在两个人第一次吃饭的时候，卡罗尔就已经开始喜欢Therese了，但却不懂为何。老李说，当卡罗尔问她：周末要不要来我家看我时，小芮干脆地回答出了yes的那一刻，她心中就在想，好一个奇怪的女孩，而此时卡罗尔的台词也是：you are such a strange girl.看看，这样巧妙的重合下大概藏着一份共同的心思。老李说，从一开始就感觉Therese就是一个很随意、没什么态度的人，吃饭都不知道点什么菜，交着一个说不清喜欢或不喜欢的男朋友，似乎对什么都没有特别喜欢，也没有特别讨厌。就是这样一个人，周末叫她去一个乡下小别墅玩，明明是一件可有可无的事，却干脆地一口答应下来了，还带着开心的笑，让人觉得真是一个奇怪的人啊，搞不清她究竟在想什么，究竟喜欢什么。
老李说，卡罗尔邀请她的时候，一开始也只是随口说说，但是说出口的一瞬间，又有一点在意这邀请的答复，明明举到嘴边要喝的酒，突然就悬在那里，再得到一个爽快而愉悦的答复后，便觉得真是个有趣的女孩，和自己见过的任何人都不同。
关于二人感情的描述，最让老李觉得精彩的戏份，竟然是两人在私人旅店和还没暴露身份的侦探聊天的那场戏。那时侦探表达出了想搭她们车的意愿，而二人却不太愿意理他，所以Therese就开始带点玩笑性质地捉弄他：“我也要去芝加哥，我知道一条路能节省两小时车程”，“那我们能停在那里买个杂志么？”，“我这里就有杂志，《国家地理》…”,“那《大众摄影》呢”……就这样见招拆招的对话，展现出了一个似乎没有态度的Therese又聪明，又有点顽皮的古灵精怪的一面。这个场景下，明明两个人没有直接的交流，却因为一致的心情产生出了一种“合伙”的状态，于是卡罗尔在这种默契中欣赏着Therese的古灵精怪，一定是十分喜爱她的。
我问老李，可是Therese根本给不了Carol任何实质上的帮助，Carol为何喜欢她。老李说她根本不需要，她本来就是习惯坚强的女性，并不需要别人来为她解决问题，但Therese的出现给了她一种温暖，甚至只要Therese多问她两句，就已经是一种安慰了。
而Therese本身也是一个细致体贴的人。在发现皮箱中的枪之后，马上选择了卸掉里面的子弹，却没有说什么，只是去问Carol，你在我身边感到害怕么？虽然Carol在开枪后发现没有子弹，有惊诧和泄气，但是日后回想，却又定会感谢Therese，如果开了枪，性质就变了，甚至连争夺抚养权的资格都没有了。
2.Carol有多喜欢Therese
非常喜欢，非常珍视。
在第一次Therese从Carol家哭着回来之后，Carol就给她打了电话，除了抱歉自己的态度外，还对她说，如果有什么问题，就问吧，please。那一刻开始，Carol就是需要Therese的了。而在还没有问出口的时候，Carol就挂掉了电话，我一直不太懂为什么，现在老李为我解答了疑惑。
因为从那时候起，Carol就将她看做一个特殊的人了，她愿意好好地听她提问，也想仔细地讲述给她，而在那个环境下，房东太太的牢骚，男人们归家的嘈杂声，都让那个环境不适合这样的对话，如果说出了什么，Therese又没有听清，或者被打断，那就太破坏这特殊的氛围了。所以Carol选择了挂断电话。
老李说，Therese就像是她生命中开出的一朵花，给了她太多的快乐。无论是多么坚强的女人，在被剥夺抚养权后都会崩溃，而在这样崩溃的心境下，Carol都愿意开着车带她去玩，给她化化妆，喷喷香水，还能一起开心地笑，完全忘却了烦恼的样子，甚至还能有闲情地去跟她接接吻，做做爱，都无比的美好和放松。
My angel, flung out of space其实才是Carol对她最深情的告白，而最后那句我爱你，根本不是Carol这样的人会先、说出口的，老李说，Carol之所以说，不是因为她想要说，而是因为她知道Therese需要听。
老李说，她太明白Carol有多么需要Therese了，所以看最后一幕的时候她无比的揪心。在最后的酒店分别后，两个人明明都有些心不在焉，而Therese就可以光明正大地心不在焉，但Carol却仍要强撑着继续谈笑风生。而当Therese终于出现，四目对视时，老李说她怕极了，她生怕Therese反悔了然后转身走开，因为她知道Carol多么需要她站在那里。
3. 其他
跟大多数人疑惑卡罗尔为什么喜欢Therese不同，老李一开始反而觉得Carol才是不值得喜欢的那一个。在法庭对峙那一场戏之前，她只觉得卡罗尔是打炮的不二之选，而当她在法庭上用颤抖的声音做出那番陈述时，她才觉得她终于是一个值得爱的人了，终于选择了坚持作自己的选择，选择了不去做丑恶的人。
老李说，最让她难过的，是Carol在街上看到Therese后久久的凝视，她说Therese一定想不到她曾经被这样久久地看着过，想想，觉得难过又幸福。看电影时，我一直都想着Therese是怎样久久地凝视Carol，想着每一个久久凝视过的人都会懂她，却忘记了自己也曾被久久地凝视过。我想我也被老李这样深深地凝视过，觉得难过，又觉得幸福。
————————照例上一些资源——————
千呼万唤的资源：大家请去微博找@凯特布兰切特中文站 他会随时更新资源+补档的。之前我发的资源已经被封了Q.Q
———————————15.10.29———————
双语字幕预告：http://www.bilibili.com/video/av2888067/
B站版Clips：http://www.bilibili.com/video/av2351476/ （两段Clips初次吃饭+偷拍，以及饭制视频，一丢丢船戏）
11.13更新四段新clip：http://www.bilibili.com/video/av3214878/index_1.html （买礼物+问名字+问生活+Carol和前夫吵架） 其实还有两段新的（Abby+聊离婚），但没那么喜欢所以懒的弄了> <
豆友的翻译——表白段的翻译：http://book.douban.com/review/7202263/ （最后一句应该是指T思绪总是飘在外太空/她就像天外来客般独特，而不是飞向天际）
更多翻译：http://tieba.baidu.com/p/3444046748
全书翻译：http://tieba.baidu.com/p/4150147306
Middleburg Film Festival交响演奏版配乐（感动哭，原声专辑Q4发布，指日可待了）：http://www.bilibili.com/video/av3165216/
原声专辑已发布，下载地址（原声+画册）：http://pan.baidu.com/s/1kTpRs8n （来源@QAF中文站）
观影前写的一篇零零碎碎的关于原著细节和一些花絮的内容：http://www.douban.com/note/521007505/ （含资源，持续更新中）
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我自己的暗恋经历《我曾在机场等一艘船》：http://www.douban.com/note/524328474/
10月27日，我独自飞到了阿德莱德，看了《卡罗尔》最后一场电影节的点映。平息了一晚上激动的心情，整理了一下思绪，想把此刻的感受留下来一点。
1.关于电影对原著的修改
电影对于原著的修改大部分还是令我比较满意的。比如 Therese的职业从舞台设计师变成了摄影师；Therese第一次跟Carol产生联系，不再是因为傻乎乎地寄了贺卡过去，而是因为Carol把手套忘在了柜台；而Therese和 Carol互换的圣诞礼物，也从昂贵的手包 /刻着Therese 姓名首字母的旅行箱，变成了更有情调的唱片 /相机（及无数胶卷）。这些在某种程度了弥补的原著中对于两人感情线索描述的缺失。
然而关于改动的地方，不满的在于滑铁卢告白段，基本全部删掉，原著中 Carol淡定而温柔的那句“ Don’t you know I love you? ” 多么经典，以及第二天早上那种欣喜的久久拥抱，全都没有了。只保留了床戏的那一句， ”My angel, flung out of space” 。
在私人侦探的那个部分， Carol没有书里的那种勇敢坚定赌一把试试的决心，只有慌乱和不知所措。最后在争夺孩子的抚养权时候，Carol并非只因为Therese而放弃，而更是为了给孩子更好的生活而放弃，把母亲的身份放大了不少，而减弱了那份她勇敢追求“非凡”爱情的勇气。这些算是比较不满意的地方。
说起滑铁卢告白这一段，因为最喜欢原著中的这段，反复读了很多遍，一直以为会原样保留在电影中，所以看到 Waterloo的路标出现的时候，心里就激动的不行。可惜的是这一段并没有保留下来。两个人在滑铁卢时是新年夜，互诉了一下因为有彼此陪伴就不孤独之类的鸡汤话之后，凯特就把浴衣带子解开，然后低头吻了 Therese。吻之前那呼之欲出的暧昧情欲非常抓人，吻得那一刻我深吸了一口气。虽然床戏很美很动人，但我更喜欢原著中那种更加克制的表达。
原著中的 Therese在那一天困得不行了，仿佛马上就要睡着还一直睡眼惺忪地看着 Carol，看着看着感情就堆积到了喉咙口，一张嘴，就倾泻而出了。那样的自然而然，让我非常感动。而 Carol更是沉默而淡然的继续收拾着行李，收好后，走过来按着Therese的肩膀，给了她一个吻，“仿佛他们已吻过了千百遍”（Then she kissed Therese on the lips, as if they had kissed a thousand times before），然后Carol说，你难道不知道我也爱你么？
而且第二天早上，电影中的 Therese从床上醒来，看到立在床前的 Carol问她这是哪里，Carol说这里是滑铁卢，然后表示，（竟然是滑铁卢，）这是个多糟糕的事儿啊，大笑。这里也更喜欢原著中的情节，第二天早上， Therese买了份报纸回来，看到在浴室中的Carol，于是把她从头到脚地认真看了一遍，有种很美梦成真的欣喜感。而Carol只是紧紧地把她搂进怀里，两个人深深地拥抱，“就像她们再也不会分开”。
书中，跟侦探对峙之后Carol本来铁了心决定跟Therese继续旅行下去，但后来迫于无奈先回去解决抚养权的问题，承诺了会回来找Therese。而Therese一个人逗留在她们分别的地方打工，跟Carol保持通话、通信，等待Carol。电影受篇幅所限，Carol直接不辞而别地回去了，剩下老朋友（兼旧情人）Abby善后，只留下了一封信，有点儿“渣”地说，你寻找问题的答案，只因为你还小。总有一天你会长大，寻找到新的幸福，到那时，我希望你想象我也在那里祝福着你。但我们不能再联络了....诸如此类，说的很冷静而有距离感，显得既不真诚也不深情，只是一些漂亮的话。书中描写道，正是这种与距离感的冷静，深深地刺伤了Therese。
但是反而是这样快速的转折，让我们看到了整部影片中一直没有说出“I love you”的Therese的深情。一下从幸福的高空摔到了现实冰冷的地上，Therese就像主心骨瞬间被抽走一样，整个人狼狈不堪、失魂落魄。坐着坐着车就跑到寒风中去呕吐不止，一个人坐在床上恍恍惚惚，对着电话默默呢喃很多遍 I miss you，在暗房冲洗着Carol的照片看的出神……
书中的Therese是比较主动的，虽然一直是Carol在约她出去吃饭，邀请她去旅行，但是Therese在感情上是毫无保留的，但凡是Carol邀约，绝不拒绝，毫无保留地赞美Carol，表达自己对于能见到她的欣喜，甚至主动地说了那句我爱你。但是影片中的Therese则是显得比较弱势的一方，基本上是一味地接受Carol。书中的Carol是表现得比较淡然的，以致于Carol刚开始邀请Therese旅行的时候，T直接拒绝了，因为她觉得Carol只是出于礼貌地询问她而已。而电影中Carol基本上一出场，语气神态中就带着一股挑逗的感觉（可能也是阶级导致的习惯性放电？），从始至终她对Therese都是很主动而强势的。而从Harge对Carol一开始的指控来看，他都能感觉到Carol一开始把这个售货小姐带回家，就心怀不轨了。
关于性爱的部分。书中的Therese和男朋友Richard有过几段性爱，但是都不太愉快，所以让Therese觉得这感觉很不对（直到跟Carol滚了床单才觉得“没有比这更对”），而Carol一开始则是鼓励T去多加尝试。但是在电影中，从T和Richard的对话中，暗示出了T还没有跟Richard发生过肉体上的关系。所以Therese是将她最美好的一夜留给了Carol，并阻止了想去关灯的Carol，说“我想能看着你”。无论是在书中还是电影里，Therese都是一个很用力在感受的人，比起跟Carol聊天，她更喜欢沉默地感受、记忆着此刻的那种感觉和心情，即使是床上的这一刻也不例外。
影片将本来是在滑铁卢应该说出的“I love you”放到了最后，似乎能感觉到导演的用意，大概是让本来还拒绝同居的Therese突然的回心转意显得更有说服力些。因为Therese本身是拒绝的，大概是报复Carol之前对她的放弃，然而在听到Carol终于说了那句我爱你之后，便开始一直魂不守舍，最终去寻找Carol。屏气凝神的对视，太美了。
2.关于电影本身
除去对原著的感情，单看电影，感觉最深的就是美。
配乐，色调，拍摄手法，无不透着一股复古而简约的气息。故事也是主次分明，基本都在拍摄两个女人，剩下的诸如前男友、旧情人、侦探律师还有女儿的戏份都精简到了极致，甚至Therese全剧都没有跟Carol的女儿互动过。
看电影前最期待的是沉默的戏份。因为书中Carol和Therese在表白之前，对话是比较少的，基本都是Carol在讲，而Therese则在飘飘乎神游，感受和幻想关于Carol的一切。采访时候鲁妮说这些沉默其实是很重要的，所以电影里都有所保留，虽然话语不多，但其实是暗流汹涌，推动着两个人的关系的。所以，一直很好奇电影会怎样处理这些沉默的戏份。
看完后觉得，在第一次Carol接Therese去她家的那一段沉默，处理得非常美。直接把Carol说的话和一切别的噪音切到了次要的音轨上了，就像来自另一个世界般遥远，而主要的轨道在播放着缓慢却欢快的音乐，镜头停留在望向窗外的Therese的脸上，带着甜蜜的笑意，在重新感受这个世界。
二刷之后，有一幕在第一次看时没有特别留意，这次却格外触动：在他们被侦探发现之后，Therese把枪扔掉往回走，却看到Carol已经在电话亭跟Abby亲密地讲电话倾诉，她那时的眼神特别的失落而无助。我想Therese一直很想参与到Carol的生活当中，想帮她分担，想为她在寒风中买香烟，希望能够改变她失去领养权的问题，但她什么也做不了，当出现大事时，Carol第一个求助的依然是旧情人Abby——她无法成为Carol的依靠，所以这一切是不是仅仅是一场露水之缘。在她们第一次吃完饭，她见到Carol上了Abby的车就开始放声大笑，那笑是Therese没见过的，那一刻她就已经怅然若失了。
这时，又觉得海因斯将那句“I love you”放在影片最后是一个很巧妙的安排，因为Carol之前没有表达过这份感情，所以Therese在Carol不辞而别后一定是对她怀疑的，她没法去相信Carol对她的感情是爱，而不止是那脆弱时期的精神和肉体的排遣。所以最后两人约见时，Therese的眼神从未有过地咄咄逼人，那眼神里有拷问，有愤怒，有幽怨，也不服输，不愿意和Carol对视的时候败下阵来。而这场势均力敌的对视，在Carol说出我爱你后，慢慢地倒塌了，Therese的眼神又变得惊讶，犹豫，无措，可还没来得急犹豫出一个结果，这一切就被打断了——对于没有看过原著的观众来说，这一刻一定是万分揪心的。
虽然对于电影对原著的改编，以及对布兰切特的表演，都有点小小的失望。但是对电影本身，却是无比满意的，那种美感营造的非常好，以至于我看着看着就不自觉地笑，觉得很满足。最棒的大概就是音乐了，在还没上映前，听着流出来的配乐就觉得已经要哭了。那种感觉啊，又甜蜜又心酸。
叙事手法上，采用的是倒叙，先拍的是久别重逢的两人，然而才引入的故事本身。这个地方，一开始不是特别懂他的用意，后来被科普到实际上首位两段机位不同，也算暗藏玄机，而开头看似平淡的吃饭场景在结尾处方揭示出原来暗波汹涌。据说这个开头在致敬《相见恨晚》，由第三人的视角来进入故事。二刷之后我也感觉到，观众让第三人慢慢领进这个只属于两个人的故事，感觉很美妙，而在Therese坐上车，突然忆起第一次见到Carol的场景，更是让人一开始就被丰沛的感情所冲击，猝不及防，又紧张万分。
3.关于演员
看完书的时候，就觉得布兰切特简直就是Carol从书里走了出来。成熟，优雅，神秘，连对外貌的描述都一样：金色微卷的头发，眼角的皱纹，灰色而极具洞察力的瞳孔，还有充满秘密的声线。
所以，一开始我觉得无论如何凯特都不会是让我失望的那一个，但是结果却是有些失望的。布兰切特对Carol的诠释，或者说海因斯对Carol的诠释，在我看来有点过了。我心目中的 Carol是温柔而坚定，自信但又内敛的，但电影里的 Carol却带着一股咄咄逼人和漫不经心。在玩具店的谈话，用脚推着箱子给Therese送礼物等等场景，都有一些挑逗的意味在里面；即使是最后邀请同居后说出的那句“I love you”，都不是我想要的感觉，因为语气不像是思念牵挂，更像是一种拿出最后筹码孤注一掷的决绝，还带着一点小小的自信。
但通过 @同志亦凡人中文站的解释，又觉得布兰切特或者说导演本人大概也是对书中的Carol有了另外的一种理解吧。粘贴一下小站君的评语：“因为鲁尼演得很柔软，所以布兰切特就要演得很张扬吧，这种迎合型表演其实也是导演追求的效果。那种高高在上的端的感觉就像是赋予她的坚强外壳，让她可以面对外面世界的蜚短流长。只有在 Therese面前你能感觉到她的柔化（但依然还会维持 apperance）。最后一个镜头就非常明显，在上流晚宴中她和一堆男人交谈自若神采飞扬，可是和 Therese一个对视整个人立刻沉静了。”
也许本身不是凯特演技的问题，只是我心中的Carol并没能跟她想演出来的Carol所重合吧。不过，像和律师对峙，和女儿告别，以及失神落魄的那几场戏，还是很精彩的，在《蓝色茉莉》中就挑战过落难贵妇的凯特，对于这些大概早已驾轻就熟。
<图片2>
凯特最精彩的表演，就是分手后在车上看到了蜕变后的Therese的那种表情，怀念，惊喜，心痛，很多复杂的感情，都交织在那充满了秘密的灰色瞳孔里。她目光里那种不着痕迹的找寻，终于让她最后放弃抚养权和勇敢追回Therese的转变有迹可循。
我心中的Carol应该是什么样子呢？我想没有比下面这张图片能更好地说明了：温柔、从容、内敛。对我来说，也许布兰切特本人比海因斯的Carol，更像Carol吧。
<图片4>
最想说的是鲁妮·玛拉，她的表演相当精彩，堪称惊艳。毫无疑问应该是明年奥斯卡影后。我相信每一个在十几岁的时候深深暗恋过一次的人，都能在她的表演中获得共鸣。不管是紧张而甜蜜的羞涩，还是失望无助的哭泣，都相当的引人怀想。几次玛拉的那种痴汉表情，都逗笑了电影院里的人，十分可爱，又让人心疼不已。
一开始我觉得凯特像是Carol从书里走出来，但看完了电影，觉得真正从书里走出来的，其实是Therese。从第一次看见Carol那种被吸引的样子，到一起吃饭时候略显局促的小动作，包括船戏时候的紧张期待，被Carol抛弃时候的失魂落魄，被最后被告白时候的恍惚……等等等等，都把一个19岁少女的复杂而青涩的感觉表现得淋漓尽致。
<图片1>
想起鲁尼·玛拉曾用颤抖的声音说，13岁时候看了《伊丽莎白》就爱上了布兰切特，排队买票看她的电影，也正因为她走上了演艺之路。30岁的现在终于和自己的偶像一起拍戏了，我想拍戏的时候她是真的爱上了布兰切特，才能把那些心情那些眼神表现得那么真实，她一定也想到了自己的青春岁月，所以才能勾起我们对青春岁月的怀想。
暗恋的感觉太久远，但全部都被鲁妮的表演唤醒了，于是我对鲁妮除了欣赏，也多了一份感激。之前流出Therese偷偷拍Carol的那段clip时，就有一个朋友豆邮我，说她看了这一小段就感动的要落泪的，还说，但凡你也曾这么痴汉地看过一个人，就一定能懂的。我觉得期待着这部电影的豆友们应该都有过这么一段感情吧，所以，我相信大家都能从鲁妮的表演中收获那种感动。
观影后记
从小站君那里得知阿德莱德电影节正在放映《卡罗尔》之后，心里激动地不行，经过了短暂的犹豫，就订了机票去成为全球首批观影者了。
适逢期末，身上压着好几个论文没写，又花了不小一笔钱，还一通舟车劳顿。可在看完电影之后，就觉得一切都值得了。片尾曲响起来的那一刹那，有种喘不过气来的感觉。毕竟是期待了这么久的电影呀，去之前我就在想，即使正片只是把预告连放20遍，我也依然会觉得欣喜与感动。出了电影院，已经晚上11点多，在几乎没有人的街道上边走边跳，一直在傻呵呵地笑。
从来没有这样期待过一部电影，从来没有干过这么疯的事，也从来没有这样满足过。冷静下来想，其实影片有很多让我不满意的地方，可是就连这不满意的地方，都让我觉得是完美中必备的小小遗憾。
睡了一觉醒来，我跑到阿德莱德市中心的公园里，突然想起来很多年前曾经看过的一篇小说，叫《边缘》，觉得跟《卡罗尔》给我的感觉略有相似，忍不住找出来坐在公园里默默地又读了一遍，依然收获了当年的那种感动。抬起头来已经下午四点了，看着阿德莱德一尘不染的天空，心里好多种心情，说不清楚，但最多的还是幸福。
现在我正在阿德莱德的机场等待回家的飞机，觉得活着真好啊。希望我的飞机能平安落地。
——————————————2.5日更新番外————————————————
（一月底跟我彼时的女朋友老李又一起看了一遍，然后写了一篇《老李完美解读<卡罗尔>中的卡罗尔》，让老李从一个御姐的角度给大家解读一下卡罗尔。原文地址：http://www.douban.com/note/538544979/）
下面，为大家转述一下老李是怎样完美地解读了《卡罗尔》中的卡罗尔：
1.卡罗尔为什么喜欢Therese
一直以来我就感觉，在两个人第一次吃饭的时候，卡罗尔就已经开始喜欢Therese了，但却不懂为何。老李说，当卡罗尔问她：周末要不要来我家看我时，小芮干脆地回答出了yes的那一刻，她心中就在想，好一个奇怪的女孩，而此时卡罗尔的台词也是：you are such a strange girl.看看，这样巧妙的重合下大概藏着一份共同的心思。老李说，从一开始就感觉Therese就是一个很随意、没什么态度的人，吃饭都不知道点什么菜，交着一个说不清喜欢或不喜欢的男朋友，似乎对什么都没有特别喜欢，也没有特别讨厌。就是这样一个人，周末叫她去一个乡下小别墅玩，明明是一件可有可无的事，却干脆地一口答应下来了，还带着开心的笑，让人觉得真是一个奇怪的人啊，搞不清她究竟在想什么，究竟喜欢什么。
老李说，卡罗尔邀请她的时候，一开始也只是随口说说，但是说出口的一瞬间，又有一点在意这邀请的答复，明明举到嘴边要喝的酒，突然就悬在那里，再得到一个爽快而愉悦的答复后，便觉得真是个有趣的女孩，和自己见过的任何人都不同。
关于二人感情的描述，最让老李觉得精彩的戏份，竟然是两人在私人旅店和还没暴露身份的侦探聊天的那场戏。那时侦探表达出了想搭她们车的意愿，而二人却不太愿意理他，所以Therese就开始带点玩笑性质地捉弄他：“我也要去芝加哥，我知道一条路能节省两小时车程”，“那我们能停在那里买个杂志么？”，“我这里就有杂志，《国家地理》…”,“那《大众摄影》呢”……就这样见招拆招的对话，展现出了一个似乎没有态度的Therese又聪明，又有点顽皮的古灵精怪的一面。这个场景下，明明两个人没有直接的交流，却因为一致的心情产生出了一种“合伙”的状态，于是卡罗尔在这种默契中欣赏着Therese的古灵精怪，一定是十分喜爱她的。
我问老李，可是Therese根本给不了Carol任何实质上的帮助，Carol为何喜欢她。老李说她根本不需要，她本来就是习惯坚强的女性，并不需要别人来为她解决问题，但Therese的出现给了她一种温暖，甚至只要Therese多问她两句，就已经是一种安慰了。
而Therese本身也是一个细致体贴的人。在发现皮箱中的枪之后，马上选择了卸掉里面的子弹，却没有说什么，只是去问Carol，你在我身边感到害怕么？虽然Carol在开枪后发现没有子弹，有惊诧和泄气，但是日后回想，却又定会感谢Therese，如果开了枪，性质就变了，甚至连争夺抚养权的资格都没有了。
2.Carol有多喜欢Therese
非常喜欢，非常珍视。
在第一次Therese从Carol家哭着回来之后，Carol就给她打了电话，除了抱歉自己的态度外，还对她说，如果有什么问题，就问吧，please。那一刻开始，Carol就是需要Therese的了。而在还没有问出口的时候，Carol就挂掉了电话，我一直不太懂为什么，现在老李为我解答了疑惑。
因为从那时候起，Carol就将她看做一个特殊的人了，她愿意好好地听她提问，也想仔细地讲述给她，而在那个环境下，房东太太的牢骚，男人们归家的嘈杂声，都让那个环境不适合这样的对话，如果说出了什么，Therese又没有听清，或者被打断，那就太破坏这特殊的氛围了。所以Carol选择了挂断电话。
老李说，Therese就像是她生命中开出的一朵花，给了她太多的快乐。无论是多么坚强的女人，在被剥夺抚养权后都会崩溃，而在这样崩溃的心境下，Carol都愿意开着车带她去玩，给她化化妆，喷喷香水，还能一起开心地笑，完全忘却了烦恼的样子，甚至还能有闲情地去跟她接接吻，做做爱，都无比的美好和放松。
My angel, flung out of space其实才是Carol对她最深情的告白，而最后那句我爱你，根本不是Carol这样的人会先、说出口的，老李说，Carol之所以说，不是因为她想要说，而是因为她知道Therese需要听。
老李说，她太明白Carol有多么需要Therese了，所以看最后一幕的时候她无比的揪心。在最后的酒店分别后，两个人明明都有些心不在焉，而Therese就可以光明正大地心不在焉，但Carol却仍要强撑着继续谈笑风生。而当Therese终于出现，四目对视时，老李说她怕极了，她生怕Therese反悔了然后转身走开，因为她知道Carol多么需要她站在那里。
3. 其他
跟大多数人疑惑卡罗尔为什么喜欢Therese不同，老李一开始反而觉得Carol才是不值得喜欢的那一个。在法庭对峙那一场戏之前，她只觉得卡罗尔是打炮的不二之选，而当她在法庭上用颤抖的声音做出那番陈述时，她才觉得她终于是一个值得爱的人了，终于选择了坚持作自己的选择，选择了不去做丑恶的人。
老李说，最让她难过的，是Carol在街上看到Therese后久久的凝视，她说Therese一定想不到她曾经被这样久久地看着过，想想，觉得难过又幸福。看电影时，我一直都想着Therese是怎样久久地凝视Carol，想着每一个久久凝视过的人都会懂她，却忘记了自己也曾被久久地凝视过。我想我也被老李这样深深地凝视过，觉得难过，又觉得幸福。
————————照例上一些资源——————
千呼万唤的资源：大家请去微博找@凯特布兰切特中文站 他会随时更新资源+补档的。之前我发的资源已经被封了Q.Q
———————————15.10.29———————
双语字幕预告：http://www.bilibili.com/video/av2888067/
B站版Clips：http://www.bilibili.com/video/av2351476/ （两段Clips初次吃饭+偷拍，以及饭制视频，一丢丢船戏）
11.13更新四段新clip：http://www.bilibili.com/video/av3214878/index_1.html （买礼物+问名字+问生活+Carol和前夫吵架） 其实还有两段新的（Abby+聊离婚），但没那么喜欢所以懒的弄了> <
豆友的翻译——表白段的翻译：http://book.douban.com/review/7202263/ （最后一句应该是指T思绪总是飘在外太空/她就像天外来客般独特，而不是飞向天际）
更多翻译：http://tieba.baidu.com/p/3444046748
全书翻译：http://tieba.baidu.com/p/4150147306
Middleburg Film Festival交响演奏版配乐（感动哭，原声专辑Q4发布，指日可待了）：http://www.bilibili.com/video/av3165216/
原声专辑已发布，下载地址（原声+画册）：http://pan.baidu.com/s/1kTpRs8n （来源@QAF中文站）
观影前写的一篇零零碎碎的关于原著细节和一些花絮的内容：http://www.douban.com/note/521007505/ （含资源，持续更新中）
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我自己的暗恋经历《我曾在机场等一艘船》：http://www.douban.com/note/524328474/
5 ) 《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。
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附上非官方的原声，听吧，你会沉醉的。
http://pan.baidu.com/s/1bnfMneB
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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。
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附上非官方的原声，听吧，你会沉醉的。
http://pan.baidu.com/s/1bnfMneB
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以下为书摘，按阅读先后顺序
"How do you like it pronounced? Therese?"
"Yes. The way you do," she answered. Carol pronounced her name the French way, Terez. She was used to a dozen variations, and sometimes she herself pronounced it differently. She liked the way Carol pronounced it, and she liked her lips saying it. An indefinite longing, that she had been only vaguely conscious of at times before, became now a recognizable wish. It was so absurd, so embarrassing a desire, that
Therese thrust it from her mind.
----
Therese was propped on one elbow. The milk was so hot, she could barely let her lip touch it at first. The tiny sips spread inside her mouth and released a melange of organic flavors. The milk seemed to taste of bone and blood, of warm flesh, or hair, saltless as chalk yet alive as a growing embryo.
----
"There's a train in about four minutes," Carol said.
Therese blurted suddenly, "Will I see you again?"
Carol only smiled at her, a little reproachfully, as the window between them rose up. "Au revoir," she said.
Of course, of course, she would see her again, Therese thought. An idiotic question!
The car backed fast and turned away into the darkness.
----
But there was not a moment when she did not see Carol in her mind, and all she saw, she seemed to see through Carol. That evening, the dark flat streets of New York, the tomorrow of work, the milk bottle dropped and broken in her sink, became unimportant. She flung herself on her-bed and drew a line with a pencil on a piece of paper. And another line, carefully, and another. A world was born around her, like a bright forest with a million shimmering leaves.
----
They stopped for a red light, and Carol rolled the window up. Carol looked at her, as if really seeing her for the first time that evening, and under her eyes that went from her face to her hands in her lap, Therese felt like a puppy Carol had bought at a roadside kennel, that Carol had just remembered was riding beside her.
----
Happiness was a little like flying, she thought, like being a kite. It depended on how much one let the string out.
----
"Are you busy? If you are, I'll leave."
"No. Sit down. I'm not doing anything—except reading a play."
"What play?"
"A play I have to do sets for." She realized suddenly she had never mentioned stage designing to Carol.
"Sets for?"
"Yes—I'm a stage designer." She took Carol's coat.
Carol smiled astonishedly. "Why the hell didn't you tell me?" she asked quietly. "How many other rabbits are you going to pull out of your hat?"
----
And perhaps she was in love with Carol, too. It put Therese on guard with her. It created a tacit rivalry that gave her a curious exhilaration, a sense of certain superiority over Abby—emotions that Therese had never known before, never dared to dream of, emotions consequently revolutionary in themselves. So their lunching together in the restaurant became nearly as important as the meeting with Carol.
------
• Carol glanced at her. "You imagine," she said, and the pleasant vibration of her voice faded into silence again. The page she had written last night, Therese thought, had nothing to do with this Carol, was not addressed to her. I feel I am in love with you, she had written, and it should be spring. I want the sun throbbing on my head like chords of music. I think of a sun like Beethoven, a wind like Debussy, and birdcalls like Stravinsky. But the tempo is all mine.
• As if she wouldn't turn down a job on a ballet set to go away with Carol—to go with her through country she had never seen before, over rivers and mountains, not knowing where they would be when night came.
• Behind Carol, an airport searchlight made a pale sweep in the night, and disappeared. Carol's voice seemed to linger in the darkness. In its richer, happier tone, Therese could hear the depths within her where she loved Rindy, deeper than she would probably ever love anyone else.
• It shook Therese in the profoundest part of her where no words were, no easy words like death or dying or killing. Those words were somehow future, and this was present. An inarticulate anxiety, a desire to know, know anything, for certain, had jammed itself in her throat so for a moment she felt she could hardly breathe. Do you think, do you think, it began. Do you think both of us will die violently someday, be suddenly shut off? But even that question wasn't definite enough. Perhaps it was a statement after all: I don't want to die yet without knowing you. Do you feel the same way, Carol? She could have uttered the last question, but she could not have said all that went before it.
• "I suppose the first thing is not to be afraid." Therese turned and saw Carol's smile. "You're smiling because you think I am afraid, I suppose." "You're about as weak as this match." Carol held it burning for a moment after she lighted her cigarette. "But given the right conditions, you could burn a house down, couldn't you?" "Or a city." "But you're even afraid to take a little trip with me. You're afraid because you think you haven't got enough money." "That's not it." "You've got some very strange values, Therese. I asked you to go with me, because it would give me pleasure to have you. I should think it'd be good for you, too, and good for your work. But you've got to spoil it by a silly pride about money. Like that handbag you gave me. Out of all proportion. Why don't you take it back, if you need the money? I don't need the handbag. It gave you pleasure to give it to me, I suppose. It's the same thing, you see. Only I make sense and you don't." Carol walked by her and turned to her again, poised with one foot forward and her head up, the short blond hair as unobtrusive as a statue's hair. "Well, do you think it's funny?"
• Carol went into the green room, and stayed there while it played. Therese stood by the door of her room, listening, smiling. ... I'll never regret... the years I'm giving... They're easy to give, when you're in love... I'm happy to do whatever I do for you... That was her song. That was everything she felt about Carol.
• Was life, were human relations like this always, Therese wondered. Never solid ground underfoot. Always like gravel, a little yielding, noisy so the whole world could hear, so one always listened, too, for the loud, harsh step of the intruder's foot.
• Therese still felt the effects of what she had drunk, the tingling of the champagne that drew her painfully close to Carol. If she simply asked, she thought, Carol would let her sleep tonight in the same bed with her. She wanted more than that, to kiss her, to feel their bodies next to each other's. Therese thought of the two girls she had seen in the Palermo bar. They did that, she knew, and more. And would Carol suddenly thrust her away in disgust, if she merely wanted to hold her in her arms? And would whatever affection Carol now had for her vanish in that instant? A vision of Carol's cold rebuff swept her courage clean away. It crept back humbly in the question, couldn't she ask simply to sleep in the same bed with her?
• She rode up in an elevator and she was acutely conscious of Carol beside her, as if she dreamed a dream in which Carol was the subject and the only figure. In the room, she lifted her suitcase from the floor to a chair, unlatched it and left it, and stood by the writing table, watching Carol. As if her emotions had been in abeyance all the past hours, or days, they flooded her now as she watched Carol opening her suitcase, taking out, as she always did first, the leather kit that contained her toilet articles, dropping it onto the bed. She looked at Carol's hands, at the lock of hair that fell over the scarf tied around her head, at the scratch she had gotten days ago across the toe of her moccasin. "What're you standing there for?" Carol asked. "Get to bed, sleepyhead." "Carol, I love you." Carol straightened up. Therese stared at her with intense, sleepy eyes.
• Then Carol finished taking her pajamas from the suitcase and pulled the lid down. She came to Therese and put her hands on her shoulders. She squeezed her shoulders hard, as if she were exacting a promise from her, or perhaps searching her to see if what she had said were real. Then she kissed Therese on the lips, as if they had kissed a thousand times before. "Don't you know I love you?" Carol said.
• Then Therese set the container of milk on the floor and looked at Carol who was sleeping already, on her stomach, with one arm flung up as she always went to sleep. Therese pulled out the light. Then Carol slipped her arm under her neck, and all the length of their bodies touched, fitting as if something had prearranged it. Happiness was like a green vine spreading through her, stretching fine tendrils, bearing flowers through her flesh. She had a vision of a pale-white flower, shimmering as if seen in darkness, or through water. Why did people talk of heaven, she wondered.
• "Go to sleep," Carol said. Therese hoped she would not. But when she felt Carol's hand move on her shoulder, she knew she had been asleep. It was dawn now. Carol's fingers tightened in her hair, Carol kissed her on the lips, and pleasure leaped in Therese again as if it were only a continuation of the moment when Carol had slipped her arm under her neck last night. I love you, Therese wanted to say again, and then the words were erased by the tingling and terrifying pleasure that spread in waves from Carol's lips over her neck, her shoulders, that rushed suddenly, the length of her body. Her arms were tight around Carol, and she was conscious of Carol and nothing else, of Carol's hand that slid along her ribs, Carol's hair that brushed her bare breasts, and then her body too seemed to vanish in widening circles that leaped further and further, beyond where thought could follow. While a thousand memories and moments, words, the first darling, the second time Carol had met her at the store, a thousand memories of Carol's face, her voice, moments of anger and laughter flashed like the tail of a comet across her brain. And now it was pale-blue distance and space, an expanding space in which she took flight suddenly like a long arrow. The arrow seemed to cross an impossibly wide abyss with ease, seemed to arc on and on in space, and not quite to stop. Then she realized that she still clung to Carol, that she trembled violently, and the arrow was herself. She saw Carol's pale hair across her eyes, and now Carol's head was close against hers. And she did not have to ask if this were right, no one had to tell her, because this could not have been more right or perfect.
• "Go to sleep," Carol said. Therese hoped she would not. But when she felt Carol's hand move on her shoulder, she knew she had been asleep. It was dawn now. Carol's fingers tightened in her hair, Carol kissed her on the lips, and pleasure leaped in Therese again as if it were only a continuation of the moment when Carol had slipped her arm under her neck last night. I love you, Therese wanted to say again, and then the words were erased by the tingling and terrifying pleasure that spread in waves from Carol's lips over her neck, her shoulders, that rushed suddenly, the length of her body. Her arms were tight around Carol, and she was conscious of Carol and nothing else, of Carol's hand that slid along her ribs, Carol's hair that brushed her bare breasts, and then her body too seemed to vanish in widening circles that leaped further and further, beyond where thought could follow. While a thousand memories and moments, words, the first darling, the second time Carol had met her at the store, a thousand memories of Carol's face, her voice, moments of anger and laughter flashed like the tail of a comet across her brain. And now it was pale-blue distance and space, an expanding space in which she took flight suddenly like a long arrow. The arrow seemed to cross an impossibly wide abyss with ease, seemed to arc on and on in space, and not quite to stop. Then she realized that she still clung to Carol, that she trembled violently, and the arrow was herself. She saw Carol's pale hair across her eyes, and now Carol's head was close against hers. And she did not have to ask if this were right, no one had to tell her, because this could not have been more right or perfect. She held Carol tighter against her, and felt Carol's mouth on her own smiling mouth. Therese lay still, looking at her at Carol's face only inches away from her, the gray eyes calm as she had never seen them, as if they retained some of the space she had just emerged from. And it seemed strange that it was still Carol's face, with the freckles, the bending blond eyebrow that she knew, the mouth now as calm as her eyes, as Therese had seen it many times before.
• "My angel," Carol said. "Flung out of space." Therese looked up at the corners of the room that were much brighter now, at the bureau with the bulging front and the shield-shaped drawer pulls, at the frameless mirror with the beveled edge, at the green patterned curtains that hung straight at the windows, and the two gray tips of buildings that showed just above the sill. She would remember every detail of this room forever. "What town is this?" she asked. Carol laughed. "This? This is Waterloo." She reached for a cigarette. "Isn't that awful." Smiling, Therese raised up on her elbow. Carol put a cigarette between her lips. "There's a couple of Waterloos in every state," Therese said.
• Therese threw the newspapers on the bed and came to her. Carol seized her suddenly in her arms. They stood holding each other as if they would never separate. Therese shuddered, and there were tears in her eyes. It was hard to find words, locked in Carol's arms, closer than kissing. "Why did you wait so long?" Therese asked. "Because—I thought there wouldn't be a second time, that I wouldn't want it. But that's not true." Therese thought of Abby, and it was like a slim shaft of bitterness dropping between them. Carol released her. "And there was something else—to have you around reminding me, knowing you and knowing it would be so easy. I'm sorry. It wasn't fair to you." Therese set her teeth hard. She watched Carol walk slowly away across the room, watched the space widen, and remembered the first time she had seen her walk so slowly away in the department store, Therese had thought forever. Carol had loved Abby, too, and she reproached herself for it. As Carol would one day for loving her, Therese wondered? Therese understood now why the December and January weeks had been made up of anger and indecision, reprimands alternating with indulgences. But she understood now that whatever Carol said in words, there were no barriers and no indecisions now. There was no Abby, either, after this morning, whatever had happened between Carol and Abby before.
• "You've made me so happy ever since I've known you," Therese said. "I don't think you can judge." "I can judge this morning." Carol did not answer. Only the rasp of the door lock answered her. Carol had locked the door and they were alone. Therese came toward her, straight into her arms. "I love you," Therese said, just to hear the words. "I love you, I love you."
• She looked at Therese, and at last Therese saw a smile rising slowly in her eyes, bringing Carol with it. "I mean responsibilities in the world that other people live in and that might not be yours. Just now it isn't, and that's why in New York I was exactly the wrong person for you to know—because I indulge you and keep you from growing up." "Why don't you stop?" "I'll try. The trouble is, I like to indulge you." "You're exactly the right person for me to know," Therese said. "Am I?" On the street, Therese said, "I don't suppose Harge would like it if he knew we were away on a trip, either, would he?" "He's not going to know about it." "Do you still want to go to Washington?" "Absolutely, if you've got the time. Can you stay away all of February?" Therese nodded.
• "Do you mean that about not writing to him? That's your decision?" Carol asked.
• "Yes." Therese watched Carol knock the water out of her toothbrush, and turn from the basin, blotting her face with a towel. Nothing about Richard mattered so much to her as the way Carol blotted her face with a towel. "Let's say no more," Carol said. She knew Carol would say no more. She knew Carol had been pushing her toward him, until this moment. Now it seemed it might all have been for this moment as Carol turned and walked toward her and her heart took a giant's step forward.
• It was an evening Therese would never forget, and unlike most such evenings, this one registered as unforgettable while it still lived. It was a matter of the bag of popcorn they shared, the circus, and the kiss Carol gave her back of some booth in the performers' tent. It was a matter of that particular enchantment that came from Carol—though Carol took their good times so for granted—seemed to work on all the world around them, a matter of everything going perfectly, without disappointments or hitches, going just as they wished it to.
• "What's going to happen when we get back to New York? It can't be the same, can it?" "Yes," Carol said. "Till you get tired of me." Therese laughed. She heard the soft snap of Carol's scarf end in the wind. "We might not be living together, but it'll be the same." They couldn't live together with Rindy, Therese knew. It was useless to dream of it. But it was more than enough that Carol promised in words it would be the same.
• Carol picked up her wine glass and said, "Chateau Neuf-du-Pape in Nebraska. What'll we drink to?" "Us." It was something like the morning in Waterloo, Therese thought, a time too absolute and flawless to seem real, though it was real, not merely props in a play—their brandy glasses on the mantel, the row of deers' horns above, Carol's cigarette lighter, the fire itself. But at moments she felt like an actor, remembered only now and then her identity with a sense of surprise, as if she had been playing in these last days the part of someone else, someone fabulously and excessively lucky. She looked up at the fir branches fixed in the rafters, at the man and woman talking inaudibly together at a table against the wall, at the man alone at his table, smoking his cigarette slowly. She thought of the man sitting with the newspaper in the hotel in Waterloo. Didn't he have the same colorless eyes and the long creases on either side of his mouth? Or was it only that this moment of consciousness was so much the same as that other moment? They spent the night in Lusk, ninety miles away.
• Carol wanted her with her, and whatever happened they would meet it without running. How was it possible to be afraid and in love, Therese thought. The two things did not go together. How was it possible to be afraid, when the two of them grew stronger together every day? And every night. Every night was different, and every morning. Together they possessed a miracle.
• But there were other days when they drove out into the mountains alone, taking any road they saw. Once they came upon a little town they liked and spent the night there, without pajamas or toothbrushes, without past or future, and the night became another of those islands in time, suspended somewhere in the heart or in the memory, intact and absolute.
• Carol went into the bathroom arid turned on the shower. Therese came in after her. "I thought I was using this John." "I'm using it, but I'll let you come in." "Oh, thanks." Therese took off her robe as Carol did. "Well?" Carol said. "Well?" Therese stepped under the shower. "Of all the nerve." Carol got under it, too, and twisted Therese's arm behind her, but Therese only giggled. Therese wanted to embrace her, kiss her, but her free arm reached out convulsively and dragged Carol's head against her, under the stream of water, and there was the horrible sound of a foot slipping. "Stop it, we'll fall!" Carol shouted. "For Christ's sake, can't two people take a shower in peace?"
• Carol wanted to know everything she had done, how the roads were, and whether she had on the yellow pajamas or the blue ones. "I'll have a hard time getting to sleep tonight without you." "Yes." Immediately, out of nowhere, Therese felt tears pressing behind her eyes. "Can't you say anything but yes?" "I love you.
• "Carol does?" Dutch said, turning to her as he polished a lass. Then a strange resentment rose in Therese because he had said her name, and she made a resolution not to speak of Carol again at all, not to anyone in the city.
• She wrote to Carol late that night. The news is wonderful. I celebrated with a single daiquiri at the Warrior. Not that I am conservative, but did you know that one drink has the kick of three when you are alone?... I love this town because it all reminds me of you. I know you don't like it any more than any other town, but that isn't the point. I mean you are here as much as I can bear you to be, not being here...
• In the library, she looked at books with photographs of Europe in them, marble fountains in Sicily, ruins of Greece in sunlight, and she wondered if she and Carol would really ever go there. There was still so much they had not done. There was the first voyage across the Atlantic. There were simply the mornings, mornings anywhere, when she could lift her head from a pillow and see Carol's face, and know that the day was theirs and that nothing would separate them.
• They were happy weeks—you knew it more than I did. Though all we have known is only a beginning. I meant to try to tell you in this letter that you don't even know the rest and perhaps you never will and are not supposed to—meaning destined to. We never fought, never came back knowing there was nothing else we wanted in heaven or hell but to be together. Did you ever care for me that much, I don't know. But that is all part of it and all we have known is only a beginning. And it has been such a short time.
• You say you love me however I am and when I curse. I say I love you always, the person you are and the person you will become. I would say it in a court if it would mean anything to those people or possibly change anything, because those are not the words I am afraid of.
• And she remembered Carol saying, I like to see you walking. When I see you from a distance, I feel you're walking on the palm of my hand and you're about five inches high. She could hear Carol's soft voice under the babble of the wind, and she grew tense, with bitterness and fear. She walked faster, ran a few steps, as if she could run out of that morass of love and hate and resentment in which her mind suddenly floundered.
• Something Carol had said once came suddenly to her mind: every adult has secrets. Said as casually as Carol said everything, stamped as indelibly in her brain as the address she had written on the sales slip in Frankenberg's. She had an impulse to tell Dannie the rest, about the picture in the library, the picture in the school. And about the Carol who was not a picture, but a woman with a child and a husband, with freckles on her hands and a habit of cursing, of growing melancholy at unexpected moments, with a bad habit of indulging her will. A woman who had endured much more in New York than she had in South Dakota. She looked at Dannie's eyes, at his chin with the faint cleft. She knew that up to now she had been under a spell that prevented her from seeing anyone in the world but Carol.
• Once that had been impossible, and had been what she wanted most in the world. To live with her and share everything with her, summer and winter, to walk and read together, to travel together. And she remembered the days of resenting Carol, when she had imagined Carol asking her this, and herself answering no. "Would you?" Carol looked at her. Therese felt she balanced on a thin edge. The resentment was gone now. Nothing but the decision remained now, a thin line suspended in the air, with nothing on either side to push her or pull her. But on the one side, Carol, and on the other an empty question mark. On the one side, Carol, and it would be different now, because they were both different. It would be a world as unknown as the world just past had been when she first entered it. Only now, there were no obstacles. Therese thought of Carol's perfume that today meant nothing. A blank to be filled in, Carol would say.
• The lights were not bright, and she did not see her at first, half hidden in the shadow against the far wall, facing her. Nor did Carol see her. A man sat opposite her, Therese did not know who. Carol raised her hand slowly and brushed her hair back, once on either side, and Therese smiled because the gesture was Carol, and it was Carol she loved and would always love. Oh, in a different way now, because she was a different person, and it was like meeting Carol all over again, but it was still Carol and no one else. It would be Carol, in a thousand cities, a thousand houses, in foreign lands where they would go together, in heaven and in hell. Therese waited. Then as she was about to go to her Carol saw her, seemed to stare at her incredulously a moment while Therese watched the slow smile growing, before her arm lifted suddenly, her hand waved a quick, eager greeting that Therese had never seen before. Therese walked toward her. The End
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6 ) 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。
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。
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。
已经闻到拿奖的气息了
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。
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。
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
比《断背山》差了五个《阿黛尔的生活》，就酱紫
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。
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。★★★★
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。
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。
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“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
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。
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。
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。
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
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。
直男恋爱教学篇 送相机请附带胶卷好嘛
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。