卡罗尔2015

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-------

<图片12>
「Carol就像她身上的秘密，扩散到整座房子里；也像一道光，只有她才看得见，别人都看不见。」
——《盐的代价》


　　一直想为这部电影写些感想，因为它留给我的余韵实在太长，我很少在短时间内把一部电影看两遍，而Carol就是这样的电影，在细节上充满惊喜，第一次看并不一定能察觉的，第二次或许就能挖掘出来。这部片子没有太多的对白跟剧情，节奏缓慢，全片着重在两位主角的神韵交流和肢体动作上，运用了大量的电影语言等待观众发现。以及，如果更细心观察的话，你会看见这部描绘1950年代的电影里处处是导演的巧思，每一帧画面、配乐、镜头、服饰、摆设都有意涵，节奏控制在两个小时以内，并没有哪一分哪一秒被浪费掉。

　　在电影一开场画面还未出来之时，可以清楚听到火车驶过轨道的声音，交通工具在Carol里有其特殊意义，例如火车象征追寻「自由」，Theres和Carol第一次见面，Theses就表示自己喜爱火车，不爱娃娃，而娃娃有另一层意涵，对女性的物化以及任人摆布。而火车也意味著兜转了一圈必然回归原点，所以影片首尾呼应。第二种交通工具是计程车，当Carol坐在计程车上时，隔着车窗望着过马路的Theres离自己越来越远，以及Therese在离开茶叙之后，看到相似Carol的妇人而触景生情，计程车是「错过」的象征。第三种交通工具真正串连起两个人，就是Carol开的小客车，两人的一趟公路之旅从纽约州（纽泽西）开到爱荷华州（滑铁卢）将近1600公里，小客车在此处就是「亲密」的象征，这个空间既私密又无旁人，给予两人极大的安全感，因此剧中许多重要的情绪表达都在车上发生，例如经过林肯隧道时，Theres难掩深情、近乎痴汉的望着Carol，照原著小说的描写Theres几乎是「恨不得隧道崩塌，让两人死在一起」，又例如Carol跟Harge争执完后载Theres去车站，车上的两人几乎快要崩溃，之后像是Carol感伤的想起女儿然后为一旁熟睡的Theres盖被，Theres在车上大口吃苹果、天气转暖时Theres帮正在开车的Carol脱下大衣，以及滑铁卢事件之后，Theres在车上内疚的大哭，都可以显现出小客车空间的重要性。

　　电影虽然没有太多对白，但是充分运用了五感：视觉、听觉、触觉、嗅觉、味觉。用痴汉Theres的观点来说就是：Carol好美、Carol的声音好好听、Carol碰的我浑身酥麻、Carol的香水好香、跟Carol在一起时我胃口很好。这是多么细腻的描写，爱一个人就是全神贯注，仿佛所有的感官都为他而生，因此当某些人说这部电影美的太不真实时，我并不同意这样的看法，因为陷在爱情中的人眼里的一切就是那么美，这样反到真实。剧中也大量运用镜子、玻璃、车窗来呈现人物画面，这些当然都是有意义的，例如镜子反映内心，玻璃象征迷茫，从车窗望去的人影则是可望不可得。



　　电影主要配乐Opening传达给我的感觉是清冷、寂寥、干净、纯粹，有点像是Edward Hopper画作的音乐版，也许因为故事主线发生在圣诞节前后，同时有一种冰雪待融的味道和隐隐约约的忧伤、无奈，就像两位主角的感情，是那样克制又压抑，但音乐最末出现转折似的放缓，像是留下希望的伏笔，导演在剧情上也是类似的处理手法，平淡底下藏着波涛汹涌，只有两位主角和观众才知会。而正当你以为压抑到极限会来一场大爆发的时候，感情来的却是那么不温不火，不狗血也不无趣，导演抓到了一个很好的情绪平衡点，而两位演员的表现更是让人赞叹，这样的片子如果没有高超的演技和默契是无法驾驭的，所以后来的床戏是那么的自然又令人感动吧。

　　说到第一场床戏，那是整个电影院最安静的时候，没有交谈、没有咳嗽、没有吃食的声响，所有人静谧的像宇宙，我甚至能感受到后排的人在屏气凝神，不愿意错过任何一个影格，因为Carol和Theres两人之间的情欲交流实在太美，大概是我看过最美的床戏，这里又要夸赞Todd Haynes一番，幸好他没有直男式的审美，许多传统导演的床戏往往拍的情色甚至猥亵，但Carol完全不会给我这种感觉，我所看见的只是爱情。

　　有些人会说换成异性恋这不过就是个寻常故事，对，但这部电影本来就不是在描绘传统异性恋的爱情（我亦不会把Carol归类为同性之爱，它就是因爱而爱），如果Carol换成中年男性在解裤腰带，估计Therese就要变成龙纹身的女孩了，而那搭在Theres肩上的纤细双手也变成了咸猪手，你看观众会不会杀了导演。

　　第二场床戏是悲伤的，是离别前的预告，不过其实这场戏是Cate跟Rooney的第一场对手戏，导演表示目的是让两个演员破冰，及早培养默契，所以可以看见这场床戏的Rooney满脸通红到耳根，第一次跟偶像演戏就是热吻（13岁起的偶像），还真是难为Rooney了。

　　做为Therese女神的Carol由Cate来饰演真的再适合不过，我无法想像第二人选，任何的角色到到Cate手上都是行云流水，演魔比魔更魔，演仙比仙还仙，从伊莉沙白到精灵女王都是无法超越的经典，他不只能演攻，在《丑闻笔记》里也演过柔弱的守。话说Cate和Todd第一次合作就是饰演Bob Dylan，他是六位Bob Dylan扮演者中唯一的女性，却是最像Bob Dylan的一位，Cate的成功便是没有一个他所扮演的角色会让人想起那是Cate Blanchett，而这正是许多演员做不到的，让所饰演的角色真正独立存在。


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　　不过给我更多惊奇的是Rooney，在这部电影之前我完全不知道他是谁，那个让他一炮而红获得奥斯卡最佳女主角提名的《龙纹身的女孩》，我是在看完Carol后才接着看，简直不敢相信两个巨大反差的角色是同一人，从甜美可人转向反社会黑暗人格难度已经够高，饰演过Lisbeth Salander后还能饰演回纯真的Therese更是不可思议。剧中Carol对Therese的形容我倒是觉得很符合Rooney本身的气质：「奇怪的女孩，像是天外来客/犹在天外」(What a strange girl you are, flung out of space.)。

　　Therese跟Carol若要说共通点，那就是都有神秘感，但Carol的神秘是一种历练和岁月久经的智慧，Carol到哪都会是全场焦点，他也能轻松的驾驭周遭，他的神秘感是拥有看穿一切的能力，而旁人却猜不透他；但Therese的神秘感却是先天的自外于人，他不在意周遭的看法，他的神秘感也包含了对自己的不了解，而他无意解开，就像他无意了解周遭，剧中跨年夜的告白很能说明这个迹象：「我总是独自一个人，在人群中」。




　　关于神秘感这个部分，其实把Therese跟Carol换成Rooney跟Cate也一样说得通，这是我看完Carol的几个访谈后的感想。演员跟所饰演的角色性格往往是有差距的，但演员赋予角色的气质却多半是自身拥有的，说到其中一个访谈里Cate对Rooney有如下的描述，我觉得很是精准：「许多人尝试形容Rooney独有的特质，不外乎说是神秘，我的确明白他们的意思，在Rooney安静的外表下，藏着静水流深的智慧，但他实际上的工作方式、他的优雅，以及他作为一名演员所做出的选择，又让他有一种相当纯粹的澄澈，你们会说澄澈和神秘是奇怪的组合，但就是这样」。

　　Rooney的个人特点是能让两种看似矛盾的特质同时存在（清澈又神秘，时尚又古典），他所饰演的Theres虽然因为纯真无辜而被戏称为小白兔，但在Carol跟丈夫Harge争执的那场戏里，我好像看见了雷普利（The Talented Mr. Ripley）的影子，Theres这个表情仿佛在说「我愿意帮Carol『处理』掉Harge」，如果剧情真照那样发展也挺Highsmith式的（笑）。 Therese这个角色本身就是作者Highsmith的化身，Highsmith可是悬疑犯罪小说见长的，他怎么可能真的那么无邪。再提到有趣的一点，编剧Phyllis Nagy是Highsmith的忘年之交，他表示在片场暗暗观察Rooney时，Rooney的许多动作和气质令他想起了Highsmith。

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　　外显上Carol强势而Therese柔弱，但不安全感其实都是由Carol承担，相反地，Therese反而有一种初生之犊不畏虎的勇气。 Carol要面对亲情和爱情的艰难选择，甚至为此吃上官司，还必须看心理医生来矫正性向（挺感谢电影把这一部分淡化）；而Therese的困扰则是无关社会压力，只是他个人对于这段感情的疑惑，他面对女神时的不自信和不确定，他的世界里只有Carol，但Carol的世界里却不只是Therese。所以Abby这个最重要的配角就是凸显Carol和Therese的距离，Carol从来只找Abby求助，更加显现Therese在他心中只是个未经世事的小孩，Therese太年轻也正是造成他们关系脆弱、不平衡的原因之一。 Therese虽然想摆脱被照顾者的角色，却力不从心，唯一成功的一次保护是发现Carol带枪后，两人从两间房变一间房；两张床变一张床。

　　所以后来的分手桥段是如此的必要，这正是让Therese加速成长的关键，Therese曾说：「我从来不懂得拒绝，我又怎么能知道自己真正要的是什么」，其实Therese到是挺会拒绝的，拒绝了男友的欧洲旅行邀约、拒绝了男友的求婚、拒绝了好友Danny的吻，唯独对Carol的要求无法拒绝，他心甘情愿成为Carol的猎物，但也造成两人无法成为互相扶持的伴侣，Therese在公路旅行中似乎也感受到这一点而为之困扰，Carol一直担任司机（照顾者、引领者）便是两人关系不平等的隐喻。 Therese太像是Carol的第二个女儿，而Carol如果被迫在两个女儿之间二选一，那Therese肯定输给Rindy。回想起Therese在Carol家时，明明身为客人却帮忙准备茶点，除了凸显两人的阶级差异之外，应该也有这样一份含义。

　　第二晚的缠绵之后，Therese在疲惫中醒来，已不见爱人的存在，赶忙来收拾烂摊子的是Abby，Therese从床上起身而坐，棉被紧掩着一丝不挂的身体，此时的神色尽是被始乱终弃的难堪（Carol你这个渣男）。跟Abby一起吃早餐，但Theres平时的好胃口（欲望）已然随着Carol的消失而消失，此处再给Rooney神一样的演技一个赞叹，只有几句台词，眼神却道尽了所有委屈跟憔悴。这应该是剧中Therese最痛苦的时候，但就和整场戏一样，人物的情绪表现依旧收敛，我原本以为Todd是借此表现50年代的低调与压抑，但后来想想不只是如此，许多导演在处理女性角色的情绪时，往往落入父权刻板印象，把女性描绘的歇斯底里，而Todd想展现的女性是坚毅、优雅又理性的，在遭逢打击时特别如是。对照本剧的男性角色，除了Danny之外，不外乎是蛮横（Harge）、鲁莽（Jack）、愚蠢（Richard）甚至猥琐的（私家侦探）。

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　　无论如何，那只被爱人甩了的兔子开始有所转变，换了工作，如愿朝兴趣发展、离开男友，不再迁就、经济条件改善，摆脱学生造型，在社会条件上开始像个「大人」 。同一个时间点，Carol在前往律师与前夫会面的路上，透过计程车的车窗望见了许久不见的Therese，眼里尽是渴望的Carol再也不能假装不在意，他开始明白自己始终要的是什么，所以后来与前夫会面时，他终于愿意对女儿放手，表示自己快乐，女儿才可能快乐，这一段的Carol既脆弱又坚强的让人心疼。这里甚至在众人面前做了出柜宣言：「我不否定录音带里的内容」、「我不会否认这段感情」，对于前夫更是歉疚的表示：没能给你幸福我很抱歉，但我希望你幸福，而我也想光明的追求自己的幸福。

　　于是有了后来的茶叙，Carol依旧是晚到那一位，但Therese已不是开头那个殷切的望着窗外寻找Carol身影的单纯女孩，他带着戒备，已不甘于做为猎物。 Therese这时的扮相实在是太像Audrey Hepburn，有点好奇造型师当时在想什么，但我想说干的好，赏心悦目之外，也显现了Rooney的可塑性之高。虽说演员终究是他们自己，但Rooney跟Audrey Hepburn却有几分相似，这让我想起另一位演技派Natalie Portman，也常被喻为Hepburn，如果说Natalie是知性与平易近人的Hepburn，那么Rooney就是神秘与空灵的Hepburn。

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　　在压抑、束缚的50年代，公共场所抽烟反而显得自由，电影中的抽烟场景多不胜数，香烟在此处有一种女性情欲自主的味道，电影里的男性角色都没有抽烟的镜头。因此当Carol和Therese再度见面之时，就像他们第一次吃饭，Carol又一次询问是否抽烟，只是这一次Therese断然拒绝，除了表示自己已学会说不，在两人的关系之中不再处于下风之外，同时也暗示Therese做出了违心之论，所以接着面对Carol的同居邀约，Therese又做出了一个No，Carol受到不小的打击，难掩失望，但毕竟自己抛弃Therese在先，Therese的拒绝也是合情合理。 Carol又一次示软，表示自己九点在某地还有晚餐，问Therese愿不愿意来，Therese沉默已示，Carol终于忍不住放了大绝，深情的说出了那三个字：I love you。

　　然而冒失鬼Jack的出现打断了Therese做出回应的可能，此处又接回电影开头，一切就像Carol信中所说Everything comes full circle. 现在观众知道一开场时，那看似平凡的聚餐对两人是何等重要、底下藏着多少情绪了，Jack一句简单的问候，就把两人脆弱的爱情打回原点，真是千古罪人。再给导演一个赞，能够把平凡的事物拍的不平凡，需要深厚的功力和超出常人的细心，而这向来不是习惯快餐的好莱坞电影风格，但正是因为这样的平凡，才更贴近你我的生活日常，我们都可能成为Carol或Therese，我们都是大时代里的小人物，主角们要面对的课题我们或也有一天需要面对。

　　Jack的介入迫使Carol及早离场，留下一句别有意味的：「你俩玩的愉快」，此时的特写全都留给Therese一人，Therese的心思还停留在Carol的深情告白里，而全戏最经典的触碰跟眼神在这里出现，Carol的手搭上Therese的肩，接着轻轻一按，Therese情不自禁的闭上双眼，这短短的几秒，整个世界在他的内心翻转不已，直到Carol离去之后，他才懊悔的开始寻找爱人身影。 Rooney高超的演技让无声胜有声，所有的挣扎与深情全在眼神里，做为观众的我的心情也很自然的随着Therese起伏和纠结。

　　Therese离开饭店后并没有马上去找Carol，朦胧的车窗再次暗示了角色内心的迷惘，像是为了确认刚才不是被一时的迷恋冲昏头，Therese前往了朋友举办的派对，却只感觉到自己的格格不入，拒绝了新的追求者后，躲进厕所抽烟的他意识到了自己要的是Carol，于是离开派对，在夜色下招了车便前往Carol所在的餐厅，火车的声音再度出现，仿佛Therese进行了一场冒险，旅程结束，火车将Therese带回Carol身边，成为一个圆。不顾柜台领班的要求，Therese径自走进餐厅寻人，呼应两人初识的百货也是在人群中，不同的是这一次Therese学会了主动追寻，心爱的Carol终于现身在人群里，依旧优雅美丽，配乐响起，两人旁若无人的凝望着彼此。

　　你以为自己像座火山，急于安放炽热的情感，但你的爱人拥有平抚一座火山的能力，所以此刻你前所未有的平静。

　　配乐戛然而止，留下一个完美的逗点。

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【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。
    
<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）

————————————————————————————————————————
我自己的暗恋经历《我曾在机场等一艘船》：http://www.douban.com/note/524328474/

  看了carol在纽约的点映，一连两场，几乎满座。电影院6个厅里有四个在放carol，不禁感叹纽约人民在文化活动这件事上超高的幸福指数。你想看的，你想见的，只要穿过难以置信的肮脏与拥挤，都能见到。看完电影整个人都处在一种极其懵逼的状态下，站在寒风中等机场巴士，忍着一天没吃没喝的饥肠辘辘排队安检，这些场景现在回忆起来显得格外模糊。而清晰是，电影院里一对又一对沉默的情侣，为爱情流眼泪的男男女女，还有该死的忘不掉的爱情。首先做个总结陈词，谢谢海因斯，谢谢女王，谢谢麻辣妹子，谢谢纽约，谢谢感恩节。这对于我来说是一场万人齐心的梦，是近期感受到的最壮阔而又细腻的事情。

  然而故事还是那个俗套的故事，无非是性向摇摆的多金中年白富美与不满恋爱现状的文青小白兔之间的牵绊和拉扯。一见钟情，共进午餐，互生好感，结伴旅行。做陷入爱情的人都会做的事——做爱，亲吻，伤害，挽回。很多侧面或正面的小细节都处理的很好，比如小记者对therese说“你应该多拍拍人”，比如therese和男友之间关于boy’s love的争论，比如女王把手搭在therese的肩上时therese无法掩饰的紧张，再比如妹子读了carol给的分手信自己跑到草丛里吐。不得不说，todd比女人更了解女人，有些小场景一出，少女们纷纷捶胸顿足，恨自己怎么就没有过如此真实而又铭心的恋爱经历。

  有一幕给我印象格外深刻，是发生在carol抛下therese消失在旅行途中之后。carol坐在出租车里，正在赶去一个类似于庭外调解的小型会面。路上行人来去匆匆，carol望向窗外，看见了therese，穿着红色的毛衣格子裙，手中拿着黑色的小本子，穿过人群与车辆。与不久前曾经伤害过的恋人偶遇，她看不见你，你久久凝视，凝视着极力克制住的情感，凝视着她也凝视着自己。caol的心理转变发生在一瞬间，真实，克制，不说一句，没有流下一滴眼泪，内心却如同千万波涛汹涌着，冲击过早已瓦解的堡垒。在这里，cate为所有人奉献了教科书般的演技，细微到几乎无法察觉的面部表情变化，眼神里的隐忍，呼吸间的紧张与压抑——没有任何多余的动作，完美到令人发指。这是一场不动声色的崩溃，也是重生，它发生的极为突然，却让你如此深刻的体会到命运的定数和爱情的魔力。有了这一段的铺垫，自然有了后面在调解会议上她的一番话，承认和therese之间发生的事情，不抵赖，不妥协。她克制住自己的情感，最后一次表明了自己的立场，“我不会再妥协了。如果你执意不允许我见女儿，我们可以上法庭。但那样我们会变的ugly,我们都不是ugle的人，不是吗。”说完，carol哭着走出调解室，抛下其实无辜的丈夫，和一段再也没有意义的婚姻。其实这里关于ugly的说法是很有趣的，可能正是由于carol与前夫之间并没有太多单方面的情感，才会以ugly来定义整件事的未来走向，有种旁观者叙述故事时的清白与掌控力，又透露出婚姻生活的种种无奈与无力。也是因为这里，才更能对比出carol和therese情感间的交互，深刻，以及不受控。

  或许是看戏的过客过分敏感，太过痴心；或许是妹子超越年龄的演技（感觉凭这一部麻辣可以轻松拿到所有最佳女主，有几幕她比cate演的还要好），让自我代入变得极为容易与自然；又或许是导演的恶趣味，巴不得全世界的女人都因为cate弯成一盘蚊香（恶趣味这件事有证可循，详见nyff采访和cannes记者见面会，对于“中国女生看过预告片都变弯”的反复强调）。总之电影会让人产生一种持续力超强的crush，更致命的是你可能会发现这场crush是个无头案，既不是对therese也不完全是对carol，好像只是迷恋上了一种氛围，在现实中不可见，在电影中又转瞬即逝。但只要抓住了，便是掉入了不复的深渊，久久难以抽离。于是心心念念着再看一遍只看一遍，却可能不自觉又反反复复琢磨了好几十回。而充满胶片感的一帧帧画面，是这场集体暗恋的源头。

  不得不说，电影用16mm摄影机拍摄呈现出的明显的粗粝感，在电影院里感受的应该是最为深刻。复古拍摄手法的运用，也让一切感情的流动变的缓慢，宁静，克制。和原著不同，therese的设定从舞台设计师变成了摄影师。基本上胶片机不离手，也有一场在暗室里冲洗照片的独角戏。她把照片纸放进药水里，用夹子再加出来，抖落下水滴，然后久久凝视着照片中的carol。这是一种很奇妙的体验，胶片的质感为观众营造出一种触碰感，而影片里的人，也触碰着用胶片机拍摄出的照片。情欲的流动，不再仅仅局限在电影里。todd通过这个改编，创造出一种看似不可能的纽带，让一些东西从carol的一颦一笑滑落到therese的每一张照片上，再一转，自然的流进每一个电影院里观众的心。你要问我这些究竟是什么，我不太想说。因为这是一种隐秘的恋爱的心情——不可能之可能，每一个电影观众都曾深深幻想过的极为致命的不足为外人道的bad romance。

  我不否认有人指出的carol被过誉，因为的确它只是一部完美的水准之作。题材讨巧，演员惊艳，拿捏的恰到好处的复古，这一切让它在起点比其他电影高的同时也丧失了一种生气与惊喜。然而这部电影的精妙之处在于，在克制与爆发间找到了一个完美的平衡点。所有人都凝神屏息的站在这个平衡点上，以小格局来放大人类与人类之间最最普通的情感。同性爱的挣扎与抗争被弱化，最浓烈的笔墨都献给情感的摇摆。这是优点还是缺点，争辩在看完电影后已经毫无意义。因为没有人能抵挡住todd的特写。每一支烟，每一次转身，每一次欲言又止沉默不语，每一次眼神交汇意乱情迷。这是每一根发丝都生机勃勃充满爱意的美，这是寂寞世界上最远离天堂的天堂，这是每一个失魂人拼命寻找的归途与故乡。

  就让画面停止在最后的对视。当装饰统统撕去，彼此赤裸相对。好像有什么东西悄悄从你身体里升起，然后又重重落下。你带着它开始奔跑，身处千万个陌生城市，身处千万个房间，身处荒无人烟的小岛，身处地狱，身处天堂。

随手丢一个结合个人经历的观后感链接：http://www.douban.com/note/528243740/

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！！！）

又名：如果你在喜欢的人面前装过逼，你就会懂得carol的眼神

主创们说，这是一部跨越了性别、年龄和阶级的爱情电影。
迷妹们说，这是一部大魔王撩完直女撩弯男的电影，耳朵会怀孕。
爱过的人说，如果你也在19岁的年纪那样爱过一个人，你就会懂Theresa看Carol的眼神。这是最美的爱情电影。

有个害羞闷骚的朋友，在撸完Carol后半夜出线在微信群，用生无可恋的声音说：”carol~真的~好~好~看~啊，我哭了一个小时。”末了还加了一句：”我觉得鲁尼奥斯卡影后拿到了”
我们调侃道：所以你爱过。

实在忍不住对鲁尼痴汉眼神和凯特撩妹传说的好奇，终于去撸了DVD版。结果证明我并未爱过，所以没能泪目一个小时。但是这仍然是一个很美的作品。由于并没有那么幸运深爱过一个人没法对Theresa产生深刻的情感共鸣，但忍不住想要从细处说说Carol这个角色。

关于撩妹
陆续看到评论说，凯特在片中，很用力的撩妹，甚至有点过于强势了。结果看到成片反而让我有点失望。因为我已经被大魔王撩了很多年，carol这个角色并不显得更高阶。这次如此突出，重点可能并不在于撩的功力，而在于撩的对象，是个妹而已。

这是一部跨越性别、年龄和阶级的电影。
年龄和阶级，或许才是Carol如此”撩人”和强势的原因。年龄和阶级在Carol身上如何刻画体现的呢？

以感谢的名义，假装正经非常客气的邀请Therese共进午餐；订了Theresa工作附近的餐厅，可以不看菜单点餐。与之对照的是Theresa并不知道这家附近的餐厅，点餐也是完全复制Carol的选择。
这些细节还包括，在情绪崩溃之后，带上墨镜神情自若的步入阳光，放佛心情和白花花的冬日阳光一样慵懒平静；在发出同居邀请的时候，非常自然的说出，也许你已经不愿意；在说了I love u之后，并不强求一个回应，而是礼貌的将Therese交给突然打断对话的男士，并希望他们晚上玩的愉快，哪怕carol其实希望晚上Therese去找自己；在Therese犹疑动摇，意识到carol要走，急切的问出”are you sure”之后，还礼貌得体的表示，自己晚餐前还要打几个电话，立刻起身走人。
当然也包括，在最为人赞叹的最后一场戏，一眼万年。随着Theresa的目光，我们可以看到Carol仍然魅力十足，她让然会微微歪头，颔首，微笑，指尖优雅的夹着香烟——哪怕对面并不是坐的Theresa。
相对于大家调侃的大魔王心机颇深，吃定小白兔，我更愿意将carol的行为归为她的年龄阅历和社会阶层。Carol的行为，很大程度来自于长期的社交法则。

哪怕是到了今天，在稍微正式的社交场合，也有无数像carol一样的人在有意无意散发这样的撩人信号，说到底，让别人被自己吸引，产生好感，就是社交的目的，不是吗？
所以，越是成熟和所谓有身份的人，越charming。这不也是Therese会对carol产生crush的原因之一么？

当然，在众人中，Theresa是特别和不同的。
不知道有没有人注意到，在Carol和Therese第一次午餐的时候，carol的body language：在询问对方是否愿意去自己家做客的时候，carol的头微微摆动，手指夹着烟在晃动，眼神漂移，直到问完等待答案的时候，才抬起眼睛看向Theresa

这是单纯的撩么？不，这更像是标准的”若无其事云淡风轻的邀请一个人其实内心很忐忑。”
如果你在喜欢的人面前装过X，那你一定能懂此时的Carol。

Carol和Theresa这段关系的可贵，并不止步于跨越了年龄和阶级的心动。

我并没有看原著，听看过的小伙伴说，原著里carol的丈夫是个控制狂。虽然电影里着墨不多，但是也可以看出哈吉的控制欲。在取得carol认可前提前安排好了需要carol参加的家宴，以女儿为筹码绑架carol进行家庭旅行，以女儿为筹码要求carol维持婚姻；雇私家侦探跟踪carol和Theresa。

而carol呢，她是一个自我意识非常强烈的人。她对Abby自责自己影响carol争夺抚养权的时候说，don’t you dare，她在Theresa不确信自己目标的时候说：是否有天赋是别人说了算，我们可以做的只是不断去努力；在Theresa自责的时候说：这不是你的错；在和丈夫撕破脸的时候说，我曾经为了和女儿在一起，把她关在房间里，然而我发现这对她并无益处。如果我都不能过自己想要的生活，我不知道还能给她什么。

抛却Abby和Theresa，carol和丈夫的婚姻也必然悲剧。因为这个男人虽然爱carol，却控制欲非常强，对形式的执着远大于心灵的契合。
与其说，carol在女儿和Theresa之间选择了Theresa，还不如说，她选择了忠于自己。在对丈夫进行最后的谈判时，她选的是自己想要的生活，并不是说，选择Theresa。
也因为carol是一个自主意识非常强的人。所以她鼓励Theresa追求自己的目标，圣诞礼物是相机而不是小火车，为Theresa自信路过的背影而震动，为Theresa离开她后的成熟而欣喜。

非常认同一种说法，Carol其实是Theresa将来想要成为的样子，代表了Theresa对自己期望的投射。在Carol和Theresa的这段关系里，Carol选择了忠于自己，而Theresa走向了成熟。这难道不是远比『我不管我爱你你爱我我们相爱就是全世界』更令人振奋吗？

据看原著的小伙伴说，原著里通篇是Theresa的脑洞，对Carol其实很少具体描述。是什么人担得起Theresa如此的迷恋呢？
主创给了答案，这不仅是一个漂亮有钱的中年女人。她有主见，体贴，Hold住一切，懂得尊重，爱人，也有自己的骄傲。当她想要爱，并不乞求，而是正式的发出邀请，然而同时考虑到拒绝的可能性，并不理所当然的强迫对方服从，也不以自我为中心（丈夫哈吉）。如果你来了，是因为你对我的爱，而不是因为我强求。
可以说，电影里的Carol，投射了以妇女之友托德海因斯为代表的主创们对理想女性的一切寄托。

这个世界上，幸运的人做过Theresa，少数人成为了Carol。而谁又不想要Carol呢？