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更新时间：2024-06-26 00:10
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1 ) 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。
2 ) 《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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3 ) 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。
4 ) CRUSH
看了carol在纽约的点映，一连两场，几乎满座。电影院6个厅里有四个在放carol，不禁感叹纽约人民在文化活动这件事上超高的幸福指数。你想看的，你想见的，只要穿过难以置信的肮脏与拥挤，都能见到。看完电影整个人都处在一种极其懵逼的状态下，站在寒风中等机场巴士，忍着一天没吃没喝的饥肠辘辘排队安检，这些场景现在回忆起来显得格外模糊。而清晰是，电影院里一对又一对沉默的情侣，为爱情流眼泪的男男女女，还有该死的忘不掉的爱情。首先做个总结陈词，谢谢海因斯，谢谢女王，谢谢麻辣妹子，谢谢纽约，谢谢感恩节。这对于我来说是一场万人齐心的梦，是近期感受到的最壮阔而又细腻的事情。
然而故事还是那个俗套的故事，无非是性向摇摆的多金中年白富美与不满恋爱现状的文青小白兔之间的牵绊和拉扯。一见钟情，共进午餐，互生好感，结伴旅行。做陷入爱情的人都会做的事——做爱，亲吻，伤害，挽回。很多侧面或正面的小细节都处理的很好，比如小记者对therese说“你应该多拍拍人”，比如therese和男友之间关于boy’s love的争论，比如女王把手搭在therese的肩上时therese无法掩饰的紧张，再比如妹子读了carol给的分手信自己跑到草丛里吐。不得不说，todd比女人更了解女人，有些小场景一出，少女们纷纷捶胸顿足，恨自己怎么就没有过如此真实而又铭心的恋爱经历。
有一幕给我印象格外深刻，是发生在carol抛下therese消失在旅行途中之后。carol坐在出租车里，正在赶去一个类似于庭外调解的小型会面。路上行人来去匆匆，carol望向窗外，看见了therese，穿着红色的毛衣格子裙，手中拿着黑色的小本子，穿过人群与车辆。与不久前曾经伤害过的恋人偶遇，她看不见你，你久久凝视，凝视着极力克制住的情感，凝视着她也凝视着自己。caol的心理转变发生在一瞬间，真实，克制，不说一句，没有流下一滴眼泪，内心却如同千万波涛汹涌着，冲击过早已瓦解的堡垒。在这里，cate为所有人奉献了教科书般的演技，细微到几乎无法察觉的面部表情变化，眼神里的隐忍，呼吸间的紧张与压抑——没有任何多余的动作，完美到令人发指。这是一场不动声色的崩溃，也是重生，它发生的极为突然，却让你如此深刻的体会到命运的定数和爱情的魔力。有了这一段的铺垫，自然有了后面在调解会议上她的一番话，承认和therese之间发生的事情，不抵赖，不妥协。她克制住自己的情感，最后一次表明了自己的立场，“我不会再妥协了。如果你执意不允许我见女儿，我们可以上法庭。但那样我们会变的ugly,我们都不是ugle的人，不是吗。”说完，carol哭着走出调解室，抛下其实无辜的丈夫，和一段再也没有意义的婚姻。其实这里关于ugly的说法是很有趣的，可能正是由于carol与前夫之间并没有太多单方面的情感，才会以ugly来定义整件事的未来走向，有种旁观者叙述故事时的清白与掌控力，又透露出婚姻生活的种种无奈与无力。也是因为这里，才更能对比出carol和therese情感间的交互，深刻，以及不受控。
或许是看戏的过客过分敏感，太过痴心；或许是妹子超越年龄的演技（感觉凭这一部麻辣可以轻松拿到所有最佳女主，有几幕她比cate演的还要好），让自我代入变得极为容易与自然；又或许是导演的恶趣味，巴不得全世界的女人都因为cate弯成一盘蚊香（恶趣味这件事有证可循，详见nyff采访和cannes记者见面会，对于“中国女生看过预告片都变弯”的反复强调）。总之电影会让人产生一种持续力超强的crush，更致命的是你可能会发现这场crush是个无头案，既不是对therese也不完全是对carol，好像只是迷恋上了一种氛围，在现实中不可见，在电影中又转瞬即逝。但只要抓住了，便是掉入了不复的深渊，久久难以抽离。于是心心念念着再看一遍只看一遍，却可能不自觉又反反复复琢磨了好几十回。而充满胶片感的一帧帧画面，是这场集体暗恋的源头。
不得不说，电影用16mm摄影机拍摄呈现出的明显的粗粝感，在电影院里感受的应该是最为深刻。复古拍摄手法的运用，也让一切感情的流动变的缓慢，宁静，克制。和原著不同，therese的设定从舞台设计师变成了摄影师。基本上胶片机不离手，也有一场在暗室里冲洗照片的独角戏。她把照片纸放进药水里，用夹子再加出来，抖落下水滴，然后久久凝视着照片中的carol。这是一种很奇妙的体验，胶片的质感为观众营造出一种触碰感，而影片里的人，也触碰着用胶片机拍摄出的照片。情欲的流动，不再仅仅局限在电影里。todd通过这个改编，创造出一种看似不可能的纽带，让一些东西从carol的一颦一笑滑落到therese的每一张照片上，再一转，自然的流进每一个电影院里观众的心。你要问我这些究竟是什么，我不太想说。因为这是一种隐秘的恋爱的心情——不可能之可能，每一个电影观众都曾深深幻想过的极为致命的不足为外人道的bad romance。
我不否认有人指出的carol被过誉，因为的确它只是一部完美的水准之作。题材讨巧，演员惊艳，拿捏的恰到好处的复古，这一切让它在起点比其他电影高的同时也丧失了一种生气与惊喜。然而这部电影的精妙之处在于，在克制与爆发间找到了一个完美的平衡点。所有人都凝神屏息的站在这个平衡点上，以小格局来放大人类与人类之间最最普通的情感。同性爱的挣扎与抗争被弱化，最浓烈的笔墨都献给情感的摇摆。这是优点还是缺点，争辩在看完电影后已经毫无意义。因为没有人能抵挡住todd的特写。每一支烟，每一次转身，每一次欲言又止沉默不语，每一次眼神交汇意乱情迷。这是每一根发丝都生机勃勃充满爱意的美，这是寂寞世界上最远离天堂的天堂，这是每一个失魂人拼命寻找的归途与故乡。
就让画面停止在最后的对视。当装饰统统撕去，彼此赤裸相对。好像有什么东西悄悄从你身体里升起，然后又重重落下。你带着它开始奔跑，身处千万个陌生城市，身处千万个房间，身处荒无人烟的小岛，身处地狱，身处天堂。![]()
随手丢一个结合个人经历的观后感链接：http://www.douban.com/note/528243740/
然而故事还是那个俗套的故事，无非是性向摇摆的多金中年白富美与不满恋爱现状的文青小白兔之间的牵绊和拉扯。一见钟情，共进午餐，互生好感，结伴旅行。做陷入爱情的人都会做的事——做爱，亲吻，伤害，挽回。很多侧面或正面的小细节都处理的很好，比如小记者对therese说“你应该多拍拍人”，比如therese和男友之间关于boy’s love的争论，比如女王把手搭在therese的肩上时therese无法掩饰的紧张，再比如妹子读了carol给的分手信自己跑到草丛里吐。不得不说，todd比女人更了解女人，有些小场景一出，少女们纷纷捶胸顿足，恨自己怎么就没有过如此真实而又铭心的恋爱经历。
有一幕给我印象格外深刻，是发生在carol抛下therese消失在旅行途中之后。carol坐在出租车里，正在赶去一个类似于庭外调解的小型会面。路上行人来去匆匆，carol望向窗外，看见了therese，穿着红色的毛衣格子裙，手中拿着黑色的小本子，穿过人群与车辆。与不久前曾经伤害过的恋人偶遇，她看不见你，你久久凝视，凝视着极力克制住的情感，凝视着她也凝视着自己。caol的心理转变发生在一瞬间，真实，克制，不说一句，没有流下一滴眼泪，内心却如同千万波涛汹涌着，冲击过早已瓦解的堡垒。在这里，cate为所有人奉献了教科书般的演技，细微到几乎无法察觉的面部表情变化，眼神里的隐忍，呼吸间的紧张与压抑——没有任何多余的动作，完美到令人发指。这是一场不动声色的崩溃，也是重生，它发生的极为突然，却让你如此深刻的体会到命运的定数和爱情的魔力。有了这一段的铺垫，自然有了后面在调解会议上她的一番话，承认和therese之间发生的事情，不抵赖，不妥协。她克制住自己的情感，最后一次表明了自己的立场，“我不会再妥协了。如果你执意不允许我见女儿，我们可以上法庭。但那样我们会变的ugly,我们都不是ugle的人，不是吗。”说完，carol哭着走出调解室，抛下其实无辜的丈夫，和一段再也没有意义的婚姻。其实这里关于ugly的说法是很有趣的，可能正是由于carol与前夫之间并没有太多单方面的情感，才会以ugly来定义整件事的未来走向，有种旁观者叙述故事时的清白与掌控力，又透露出婚姻生活的种种无奈与无力。也是因为这里，才更能对比出carol和therese情感间的交互，深刻，以及不受控。
或许是看戏的过客过分敏感，太过痴心；或许是妹子超越年龄的演技（感觉凭这一部麻辣可以轻松拿到所有最佳女主，有几幕她比cate演的还要好），让自我代入变得极为容易与自然；又或许是导演的恶趣味，巴不得全世界的女人都因为cate弯成一盘蚊香（恶趣味这件事有证可循，详见nyff采访和cannes记者见面会，对于“中国女生看过预告片都变弯”的反复强调）。总之电影会让人产生一种持续力超强的crush，更致命的是你可能会发现这场crush是个无头案，既不是对therese也不完全是对carol，好像只是迷恋上了一种氛围，在现实中不可见，在电影中又转瞬即逝。但只要抓住了，便是掉入了不复的深渊，久久难以抽离。于是心心念念着再看一遍只看一遍，却可能不自觉又反反复复琢磨了好几十回。而充满胶片感的一帧帧画面，是这场集体暗恋的源头。
不得不说，电影用16mm摄影机拍摄呈现出的明显的粗粝感，在电影院里感受的应该是最为深刻。复古拍摄手法的运用，也让一切感情的流动变的缓慢，宁静，克制。和原著不同，therese的设定从舞台设计师变成了摄影师。基本上胶片机不离手，也有一场在暗室里冲洗照片的独角戏。她把照片纸放进药水里，用夹子再加出来，抖落下水滴，然后久久凝视着照片中的carol。这是一种很奇妙的体验，胶片的质感为观众营造出一种触碰感，而影片里的人，也触碰着用胶片机拍摄出的照片。情欲的流动，不再仅仅局限在电影里。todd通过这个改编，创造出一种看似不可能的纽带，让一些东西从carol的一颦一笑滑落到therese的每一张照片上，再一转，自然的流进每一个电影院里观众的心。你要问我这些究竟是什么，我不太想说。因为这是一种隐秘的恋爱的心情——不可能之可能，每一个电影观众都曾深深幻想过的极为致命的不足为外人道的bad romance。
我不否认有人指出的carol被过誉，因为的确它只是一部完美的水准之作。题材讨巧，演员惊艳，拿捏的恰到好处的复古，这一切让它在起点比其他电影高的同时也丧失了一种生气与惊喜。然而这部电影的精妙之处在于，在克制与爆发间找到了一个完美的平衡点。所有人都凝神屏息的站在这个平衡点上，以小格局来放大人类与人类之间最最普通的情感。同性爱的挣扎与抗争被弱化，最浓烈的笔墨都献给情感的摇摆。这是优点还是缺点，争辩在看完电影后已经毫无意义。因为没有人能抵挡住todd的特写。每一支烟，每一次转身，每一次欲言又止沉默不语，每一次眼神交汇意乱情迷。这是每一根发丝都生机勃勃充满爱意的美，这是寂寞世界上最远离天堂的天堂，这是每一个失魂人拼命寻找的归途与故乡。
就让画面停止在最后的对视。当装饰统统撕去，彼此赤裸相对。好像有什么东西悄悄从你身体里升起，然后又重重落下。你带着它开始奔跑，身处千万个陌生城市，身处千万个房间，身处荒无人烟的小岛，身处地狱，身处天堂。
随手丢一个结合个人经历的观后感链接：http://www.douban.com/note/528243740/
5 ) Carol - 很美很美的爱情
warning：全是剧透！
记得差不多半年前，在微博上被魔王和小白兔的嘎纳照片刷屏。于是默默的去Amazon买了Kindle版的来看。对于能下载绝不购买的我来说，这绝对算是难得的了。这是我第一本完整看完的英语小说/书。当时就有冲动写读后感，但又觉得可以等电影结束后，在好好一起来写。于是，现在就有种终于看完电影来交作业的感觉。
电影和小说一样，其实情节非常简单。简单到都觉得没有剧透的意义。这是正在离婚中的贵妇Carol与处于人生迷茫阶段的售货员+摄影师Therese相爱的故事。小说的精妙在于，它完全着点与Therese的视角，于是作为读者的我，就可以完全感同身受的和她一起心动，一起因为Carol的邀约而兴奋，连那小鹿乱撞的心跳都那么的真实。当时小说最大的悬念就是，Carol是否爱着，她有多爱。就像你暗恋一个人的时候，你最想知道的就是她爱不爱我，有多爱。于是这条线就带出了小说中我最爱的三段情节。
1. Therese第一次在Waterloo的旅馆里向Carol表白。那段场景写的很奇妙。Therese是在睡前，以很困倦，很模糊的状态下说出I love you的。而作为读者的我，也突然像从困倦与睡意中惊醒一样，看着Carol一脸淡然又宠溺的说，难道你不知道我一直爱你吗？那样一种尘埃落定的幸福感，也许真的只有在小说的单视角下才能感受得到。之后就是两人做爱的情节。然而在电影中，这一段则是用完全不同的表达方式。
2. Carol第一次知道她们有可能被私家侦探跟踪。她问Therese，是想要继续旅行还是停止。Therese说想要继续，然后Carol就很坚决的说，那么我们就继续。这是在Carol完全知道自己在走钢丝的情况下做出的选择，而这一刻，我是真的看到，Carol不仅爱着，而且爱的很深，很任性。遗憾的是，这一段在电影中完全被省略了。电影后半段的节奏非常快，反而将有些情绪忽略了。这个后面聊到电影的时候再说。
3. Therese回到NY后，第一次和Carol见面。此时已经完全成长后的Therese和刚接受完人生残酷洗礼的Carol。小说中，两人聊着过去，聊着发生过的种种。Carol第一次主动说‘我爱你’。停顿之后，又加上，但是我知道你不再爱我了。哪怕如此，她还是说着自己如何放弃Rindy的抚养权，因为她不愿意屈服，永远不再见Therese。那种淡然的语气仿佛在说着别人的事。以至于，最后当她向Therese发出住在一起的邀请时，你似乎感受不到那些话的重量。就这么冷静的说着爱你，冷静的孤注一掷，到最后冷静的接受拒绝。
这就是书里的那个Carol，爱的很高傲，很自我，但也奋不顾身。有意思的是，虽然书里Carol的情节并不多，心理描绘是完全没有。但是反而让读者更容易把所有的注意力都集中在她身上。与之相反的，是电影。两人的戏份与视角非常平均，而也正是这种平均，让电影展现了完全不同画面感。
=====================我是电影与小说的分割线===========================
个人非常喜欢电影前面3/4部分（到两人被发现，Carol抛下Therese离开）。哪怕节奏非常慢，慢到你似乎感觉没发生什么事情，但是情绪却非常的饱满。从两人在百货商店初遇，Carol就很肆无忌惮的打量着Therese。眼神，言语，甚至是肢体上，似有若无的调戏随处可见。从第一次邀请来家中，到圣诞节送礼物，到两人开始公路旅行，到Carol亲吻Therese。。。从一开始，Carol就占据着完全的主动。说得通俗点，就像霸道总裁追灰姑娘的感觉。而Therese从头到尾都只有在说“好哒”。这和小说有着些许的不同。小说中，Therese在没有任何缘由的情况下给Carol写圣诞贺卡，才让两人有了后续（电影中是Carol故意留下手套）；小说中，Therese在圣诞节给Carol买了个巨贵的包包，哪怕明知道自己经济上很拮据 （而电影中则是Carol在知道Therese的摄影师梦想后给她买了专业摄像机）；小说中是Therese首先表白，挑明了两人的暧昧（而电影中完全没有表明心迹的部分，直接是Carol主动的接吻）。个人猜想，电影中Therese的被动，也是为了凸显出她在初期的迷茫和不知所措。和分手之后她的变化，并且对Carol说No形成鲜明的对比。
电影情节方面亮点还是不少的：
1. 前面提到的Carol对Therese的调戏和勾引（想不出更适合的词了）。全剧Carol一共抚摸过Therese的肩膀4次。每一次都有不一样的含义，而每一次Therese都会有很明显的反应（害羞，紧张，震惊…）。这也是我说，为什么电影中，虽然Carol主动很多，但是跟多Therese身上的情绪也非常的有张力。至于眼神的调戏就不说。各种媚眼，以及大胆的审视。老实说，这真的给电影带来很多的乐趣。
2. Sex Scene。终于明白，为什么各种记者会，访问中，大家都这么爱问这段激情戏。因为这段戏真的比我想象中要大胆很多。而且所表达的情绪实在是太棒了。我看过的大部分电影里，激情戏主要分两种，一种是纯粹的lust：比如酒后，比如某种冲动，比如纯属打炮。还有一种，就是很多爱情电影中，特别文艺又带有美感的激情戏。基本上会特别渲染环境，然后两人接吻，倒在床上，远镜头，然后就第二天天亮了。Carol的床戏却远远超过这些。从最开始Carol解开自己睡袍的腰带，到接吻，到床上肢体的交融，Carol的主导，Therese的反应…等等等等。我有种，wow，这才是literally的做爱（make love）的感觉。导演把这段情节拍的很大胆，但又非常的美。你能感到两人的passion，但又很清楚的明白，这不只是纯粹的lust。那种相爱，想要靠的更近的感觉，是让人透不过气的。这段戏时间不短，所以真的是舔屏党的福利啦。
之后还有一场相对比较短的亲热戏。是在两人被发现之后。观众应该可以明显的感觉到情绪的不同。这一段中，两人拥抱和亲吻中带着更多更多的绝望与迫切。
唯一比较遗憾的是，两场戏间隔非常近，中间夹的那场还是发现自家侦探窃听的高潮戏，于是三场戏连在一起，显得非常的赶，还没消化掉呢，就移到下一步了。
3. Therese 的摄影师职业。小说中，Therese的职业是剧场的场景设计（set designer？）。之前不理解这个改变，但是电影中，摄影师的设定真的非常棒！Therese镜头下Carol是真的美。同时也对Therese的个性发展起到很大的作用（老实说，这部电影，要从角色发展的角度，Therese是远大于Carol的）。还有中间很有意思的一场戏，两人刚开始旅行时，在餐厅，Therese就直接拿起照相机对着Carol拍（好痴汉），Carol还害羞，玩笑间，两人的手触碰到。非常喜欢这种甜蜜的瞬间。而两人分开后，Therese看着Carol的照片，那种虐也是彻心彻骨的。
4. 最后一场对视。很多人都提到过这场戏，因为真的很赞，也因为这段情节，这个故事最后被定格为Happy Ending。而小说也成为那个时代第一部HE的Les爱情故事。个人觉得，这一幕的重点是Therese。从她走进饭店，寻找Carol，从最开始的着急，到最后就这么凝视的，脸上的变化，那个眼神真的可以让我联想到小说最后一段的描写：
...and Therese smiled because the gesture was Carol, and it was Carol she loved and would always love...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.
那一幕，从Therese的脸上，我真的可以看到，不管路过多少城市，多少地方，天堂和地狱，她爱的永远是那个Carol，那个唯一的Carol。
至于情节上不太满意的地方也是有的。比如最开始提到的，电影中后段节奏非常赶，感觉两人才开始就结束了。也因为这样，其实Carol对Therese的爱也表达的不是很够。小说中，你能觉得，Carol的爱是不断递增的，到最后放弃所有来到Therese面前时，达到顶峰。而电影里的至高点反而是在中间，旅行的部分。并且电影里对于Carol母亲形象的塑造很深刻，反而有一点点掩盖掉她对Therese的感情。特别是最后，我记得小说中，Carol基本是为了Therese放弃了见到Rindy的机会（抚养权什么的早就因为她和Therese的行为一败涂地了）。而电影里，Carol是为了让Rindy有一个稳定的生活，而不是看着父母不断的挣抚养权，而放弃的争斗。后半段发生的事情很多，但是可能因为太赶，反而显得有些松散，不像前期那么饱满。当然还有一些被删掉的情节比如Therese的表白啦，两人的一场浴室戏份啦。。。总觉得两人旅行的部分的戏份还该再多一些。但是毕竟你永远没办法把一部小说完整的塞到电影里，做人也不能太贪心。
========================其他废话的分割线============================
说完情节的部分，在随便说些其他的。这部电影的制作的真的棒，从导演到演员。老实说，这部电影不容易拍，因为情节实在是太简单了，没啥太多的一波三折，怎么样不拍成俗套的爱情故事片，还是非常有挑战的。Todd的画面真的实在是太美了。很多视角很特别，比如当Therese观察Carol，镜头就会只拍到Carol的局部（比如只拍手指，袖子。。等等）。再比如，这次很多镜头都是靠镜子或者窗的反射，或者透过窗户来拍摄的。我不是太了解这样的目的，但是作为观众的我还是很享受这样的画面的。电影的原声也很棒。虽然很多都是那段主旋律的翻来覆去，但是真的非常有感觉，也把情节烘托的很好。
当然最后不能略过的是演员们。演技都是杠杠的！配角们都各司其职。Cate一贯的高水平表演，Rooney妹子却是有惊喜。感觉是一部看几遍都不过瘾的片子。Cate的身材出乎意料的好。背部和手臂的曲线非常的漂亮，也很结实。比较好笑的是，两场床戏里，Rooney的脸都是通通红的，而且都是一路红到耳根。想说，Rooney自称裸的都习惯了，这里还是害羞哈！
马上到来的各种award season，Carol其实不是传统的热门片类型。但是希望有好运！
总分5星还是必须的。但是从电影角度，给4星，还有一星是私心！
记得差不多半年前，在微博上被魔王和小白兔的嘎纳照片刷屏。于是默默的去Amazon买了Kindle版的来看。对于能下载绝不购买的我来说，这绝对算是难得的了。这是我第一本完整看完的英语小说/书。当时就有冲动写读后感，但又觉得可以等电影结束后，在好好一起来写。于是，现在就有种终于看完电影来交作业的感觉。
电影和小说一样，其实情节非常简单。简单到都觉得没有剧透的意义。这是正在离婚中的贵妇Carol与处于人生迷茫阶段的售货员+摄影师Therese相爱的故事。小说的精妙在于，它完全着点与Therese的视角，于是作为读者的我，就可以完全感同身受的和她一起心动，一起因为Carol的邀约而兴奋，连那小鹿乱撞的心跳都那么的真实。当时小说最大的悬念就是，Carol是否爱着，她有多爱。就像你暗恋一个人的时候，你最想知道的就是她爱不爱我，有多爱。于是这条线就带出了小说中我最爱的三段情节。
1. Therese第一次在Waterloo的旅馆里向Carol表白。那段场景写的很奇妙。Therese是在睡前，以很困倦，很模糊的状态下说出I love you的。而作为读者的我，也突然像从困倦与睡意中惊醒一样，看着Carol一脸淡然又宠溺的说，难道你不知道我一直爱你吗？那样一种尘埃落定的幸福感，也许真的只有在小说的单视角下才能感受得到。之后就是两人做爱的情节。然而在电影中，这一段则是用完全不同的表达方式。
2. Carol第一次知道她们有可能被私家侦探跟踪。她问Therese，是想要继续旅行还是停止。Therese说想要继续，然后Carol就很坚决的说，那么我们就继续。这是在Carol完全知道自己在走钢丝的情况下做出的选择，而这一刻，我是真的看到，Carol不仅爱着，而且爱的很深，很任性。遗憾的是，这一段在电影中完全被省略了。电影后半段的节奏非常快，反而将有些情绪忽略了。这个后面聊到电影的时候再说。
3. Therese回到NY后，第一次和Carol见面。此时已经完全成长后的Therese和刚接受完人生残酷洗礼的Carol。小说中，两人聊着过去，聊着发生过的种种。Carol第一次主动说‘我爱你’。停顿之后，又加上，但是我知道你不再爱我了。哪怕如此，她还是说着自己如何放弃Rindy的抚养权，因为她不愿意屈服，永远不再见Therese。那种淡然的语气仿佛在说着别人的事。以至于，最后当她向Therese发出住在一起的邀请时，你似乎感受不到那些话的重量。就这么冷静的说着爱你，冷静的孤注一掷，到最后冷静的接受拒绝。
这就是书里的那个Carol，爱的很高傲，很自我，但也奋不顾身。有意思的是，虽然书里Carol的情节并不多，心理描绘是完全没有。但是反而让读者更容易把所有的注意力都集中在她身上。与之相反的，是电影。两人的戏份与视角非常平均，而也正是这种平均，让电影展现了完全不同画面感。
=====================我是电影与小说的分割线===========================
个人非常喜欢电影前面3/4部分（到两人被发现，Carol抛下Therese离开）。哪怕节奏非常慢，慢到你似乎感觉没发生什么事情，但是情绪却非常的饱满。从两人在百货商店初遇，Carol就很肆无忌惮的打量着Therese。眼神，言语，甚至是肢体上，似有若无的调戏随处可见。从第一次邀请来家中，到圣诞节送礼物，到两人开始公路旅行，到Carol亲吻Therese。。。从一开始，Carol就占据着完全的主动。说得通俗点，就像霸道总裁追灰姑娘的感觉。而Therese从头到尾都只有在说“好哒”。这和小说有着些许的不同。小说中，Therese在没有任何缘由的情况下给Carol写圣诞贺卡，才让两人有了后续（电影中是Carol故意留下手套）；小说中，Therese在圣诞节给Carol买了个巨贵的包包，哪怕明知道自己经济上很拮据 （而电影中则是Carol在知道Therese的摄影师梦想后给她买了专业摄像机）；小说中是Therese首先表白，挑明了两人的暧昧（而电影中完全没有表明心迹的部分，直接是Carol主动的接吻）。个人猜想，电影中Therese的被动，也是为了凸显出她在初期的迷茫和不知所措。和分手之后她的变化，并且对Carol说No形成鲜明的对比。
电影情节方面亮点还是不少的：
1. 前面提到的Carol对Therese的调戏和勾引（想不出更适合的词了）。全剧Carol一共抚摸过Therese的肩膀4次。每一次都有不一样的含义，而每一次Therese都会有很明显的反应（害羞，紧张，震惊…）。这也是我说，为什么电影中，虽然Carol主动很多，但是跟多Therese身上的情绪也非常的有张力。至于眼神的调戏就不说。各种媚眼，以及大胆的审视。老实说，这真的给电影带来很多的乐趣。
2. Sex Scene。终于明白，为什么各种记者会，访问中，大家都这么爱问这段激情戏。因为这段戏真的比我想象中要大胆很多。而且所表达的情绪实在是太棒了。我看过的大部分电影里，激情戏主要分两种，一种是纯粹的lust：比如酒后，比如某种冲动，比如纯属打炮。还有一种，就是很多爱情电影中，特别文艺又带有美感的激情戏。基本上会特别渲染环境，然后两人接吻，倒在床上，远镜头，然后就第二天天亮了。Carol的床戏却远远超过这些。从最开始Carol解开自己睡袍的腰带，到接吻，到床上肢体的交融，Carol的主导，Therese的反应…等等等等。我有种，wow，这才是literally的做爱（make love）的感觉。导演把这段情节拍的很大胆，但又非常的美。你能感到两人的passion，但又很清楚的明白，这不只是纯粹的lust。那种相爱，想要靠的更近的感觉，是让人透不过气的。这段戏时间不短，所以真的是舔屏党的福利啦。
之后还有一场相对比较短的亲热戏。是在两人被发现之后。观众应该可以明显的感觉到情绪的不同。这一段中，两人拥抱和亲吻中带着更多更多的绝望与迫切。
唯一比较遗憾的是，两场戏间隔非常近，中间夹的那场还是发现自家侦探窃听的高潮戏，于是三场戏连在一起，显得非常的赶，还没消化掉呢，就移到下一步了。
3. Therese 的摄影师职业。小说中，Therese的职业是剧场的场景设计（set designer？）。之前不理解这个改变，但是电影中，摄影师的设定真的非常棒！Therese镜头下Carol是真的美。同时也对Therese的个性发展起到很大的作用（老实说，这部电影，要从角色发展的角度，Therese是远大于Carol的）。还有中间很有意思的一场戏，两人刚开始旅行时，在餐厅，Therese就直接拿起照相机对着Carol拍（好痴汉），Carol还害羞，玩笑间，两人的手触碰到。非常喜欢这种甜蜜的瞬间。而两人分开后，Therese看着Carol的照片，那种虐也是彻心彻骨的。
4. 最后一场对视。很多人都提到过这场戏，因为真的很赞，也因为这段情节，这个故事最后被定格为Happy Ending。而小说也成为那个时代第一部HE的Les爱情故事。个人觉得，这一幕的重点是Therese。从她走进饭店，寻找Carol，从最开始的着急，到最后就这么凝视的，脸上的变化，那个眼神真的可以让我联想到小说最后一段的描写：
...and Therese smiled because the gesture was Carol, and it was Carol she loved and would always love...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.
那一幕，从Therese的脸上，我真的可以看到，不管路过多少城市，多少地方，天堂和地狱，她爱的永远是那个Carol，那个唯一的Carol。
至于情节上不太满意的地方也是有的。比如最开始提到的，电影中后段节奏非常赶，感觉两人才开始就结束了。也因为这样，其实Carol对Therese的爱也表达的不是很够。小说中，你能觉得，Carol的爱是不断递增的，到最后放弃所有来到Therese面前时，达到顶峰。而电影里的至高点反而是在中间，旅行的部分。并且电影里对于Carol母亲形象的塑造很深刻，反而有一点点掩盖掉她对Therese的感情。特别是最后，我记得小说中，Carol基本是为了Therese放弃了见到Rindy的机会（抚养权什么的早就因为她和Therese的行为一败涂地了）。而电影里，Carol是为了让Rindy有一个稳定的生活，而不是看着父母不断的挣抚养权，而放弃的争斗。后半段发生的事情很多，但是可能因为太赶，反而显得有些松散，不像前期那么饱满。当然还有一些被删掉的情节比如Therese的表白啦，两人的一场浴室戏份啦。。。总觉得两人旅行的部分的戏份还该再多一些。但是毕竟你永远没办法把一部小说完整的塞到电影里，做人也不能太贪心。
========================其他废话的分割线============================
说完情节的部分，在随便说些其他的。这部电影的制作的真的棒，从导演到演员。老实说，这部电影不容易拍，因为情节实在是太简单了，没啥太多的一波三折，怎么样不拍成俗套的爱情故事片，还是非常有挑战的。Todd的画面真的实在是太美了。很多视角很特别，比如当Therese观察Carol，镜头就会只拍到Carol的局部（比如只拍手指，袖子。。等等）。再比如，这次很多镜头都是靠镜子或者窗的反射，或者透过窗户来拍摄的。我不是太了解这样的目的，但是作为观众的我还是很享受这样的画面的。电影的原声也很棒。虽然很多都是那段主旋律的翻来覆去，但是真的非常有感觉，也把情节烘托的很好。
当然最后不能略过的是演员们。演技都是杠杠的！配角们都各司其职。Cate一贯的高水平表演，Rooney妹子却是有惊喜。感觉是一部看几遍都不过瘾的片子。Cate的身材出乎意料的好。背部和手臂的曲线非常的漂亮，也很结实。比较好笑的是，两场床戏里，Rooney的脸都是通通红的，而且都是一路红到耳根。想说，Rooney自称裸的都习惯了，这里还是害羞哈！
马上到来的各种award season，Carol其实不是传统的热门片类型。但是希望有好运！
总分5星还是必须的。但是从电影角度，给4星，还有一星是私心！
6 ) 我爱这哭不出来的浪漫
这是一部看完2分23秒预告片就想打5星的电影。不为别的，就为最后一幕特瑞斯穿过人群目光如炬的寻着卡罗尔，而卡罗尔侧过交谈的脸望向她后，两个人远远的，相视而笑。这一幕太赋有张力，以至于看着她们的对视，我心跳都快漏了半拍，所谓美得令人窒息大抵也不过如此吧。
那一幕中特瑞斯穿过人群，穿过痛苦与成长，穿过凄凉荒漠与泥淖沼泽，定定的看着卡罗尔，继而义无反顾的走向她，也走向了自己的命运；命运的另一端卡罗尔同样望向她，眼神笃定又昧味，我知道你会来，所以我等。一眼万年。
还好不是“此刻我多想拥抱你，可惜时光之里山南水北，可惜你我中间人来人往”，还好一切都还来得及，我为这样的Happy Ending暗自庆幸。有人曾问某位女同博主，“你开这个微博是不是在说还是有人幸福的？”她回，“不是，是在说还是有人在坚持的”。同性恋题材影片的Happy Ending意义大概也在这般。
整部影片以倒叙的方式，建构于五十年代美国的大背景下，服饰、音乐、建筑、交通工具复古、优雅并透露着极简的禁欲系。片头以卡罗尔与特瑞斯最后的进餐为开始，一辆火车驶过，镜头拉到两人第一次见面的场景，特瑞斯是给卡罗尔推荐小火车模型的超市雇员，如同后面卡罗尔给特瑞斯的信中提到“Everything comes full circle”，一切恍如隔世，世间万物千回百转归于原点，犹如轮回。
1.Some people change your life forever.
凯特所饰的卡罗尔几乎满足了我对御姐的所有幻想，漂亮优雅、温柔多金、有思想会疼人，重要的是，她还分分钟向我们展示教科书级别的撩妹技能。光是性感的声线，听一句都害怕会怀孕。这样的卡罗尔，有谁能不被她吸引？于是特瑞斯在一场猝不及防的对视中与卡罗尔相遇，只因为这一眼，”Some people change your life forever.”卡罗尔故意遗落的手套，特瑞斯痴汉般盯着她忘记下单的神情，注定纠缠不清。
2.试探
卡罗尔约特瑞斯第一次午餐，她问”Did you live alone?”，这就是成熟女人的聪明之处，她不直接问你“你有男朋友吗？”她问你“你是自己一个人住吗？”年长的人，阅历将她们淬炼的懂得如何将问题说的进退自如，既不令对方难堪又能保持自己的空间。
3.What a strange girl you are,flung out of space.
卡罗尔对总是神色游离的特瑞斯说这句话，是我最喜欢的场景之一。鲁尼的笑很美，是那种不自知的美，与《龙纹身的女孩》中叛逆不羁形成鲜明对比。《龙纹身》里她是一个主动女上位007的朋克攻少女，而《卡罗尔》里她俨然成为一个无意中自带一抹娇羞的大写弱受。很多人不理解特瑞斯对卡罗尔的感情，以及频繁出现的羞赧，其实只要暗恋过的人就会知道，那是内心的小雀跃与不确定的体外表征。面对一个比自己优秀的年上，崇拜带着点暧昧，被夸奖后的惊讶跟欣喜，对她话语的揣摩跟模仿，特瑞斯不过就是年少时懵懵懂懂的自己。
4.信
特瑞斯第一次写下Carol名字的时候，我有被打动到。网络时代你见过很多温暖的小段子，而作为一个不再年轻的怪阿姨，我经历过手写信的时代尾声。那个时候，花上一整个夜晚，写一封词不达意的信，寄给一个并不在未来里的人，想象读信人的表情，期待她能感受到自己的全部情谊。Carol，写在纸上的名字，记在心里的样子。
5.你不是不会拒绝，你只是不会拒绝她
前面看特瑞斯制止了她杂志社朋友的亲吻时，并未想太多，直到后半部分监听风波过后，特瑞斯跟卡罗尔自责到，“是自己从来不懂拒绝，什么都不了解却还是什么都不拒绝”，我突然就笑了出来。特瑞斯，谁说你不懂拒绝？你拒绝了未来男同事的吻，拒绝了男友的法国邀请，拒绝了更好更圆的月亮，你只是，不拒绝她。
无力拒绝。不想拒绝。卡罗尔每次询问你”would you?”，你都不假思考毫不犹豫的回答”yes,I would”，除了最后一次，都是，毫不犹豫。第一次约饭，你愿意吗？我愿意；第一次问你愿意来我家吗？我愿意；第一次问我可以去你家吗？我愿意；第一次问，你愿意跟我一起去西部吗？我愿意。
这才是问题所在，你不是不能拒绝，你只是不想拒绝，她。
6.最好的爱情，最坏的身份
看《卡罗尔》我哭不出来，因为太真实了，反而让我时刻惊醒自己，你要抗住，这就是生活，你不能哭，不然你就输了。可以说，这是个单薄又俗气的故事，女人跟女人的感情本来就细腻无比，表演的过了容易显得用力过猛，表演的清浅又让感情看上去太羸弱，所以，几乎是凯特女王跟鲁尼的演技和内心戏撑起了整部电影。
鲁尼的表现让我惊讶，甚至比女王更动人，在从卡罗尔家里出来坐火车回住处的一幕戏中，她倔强的眼泪从脸上掉下来，我心里也跟着落泪。那是要多委屈，才能击垮对卡罗尔的迁就，我喜欢你，你也处处暗示对我有好感，你约我到你家却意外撞上你的丈夫，他的责问你的冷淡，迫使我就这样狼狈而逃。刚刚我还弹奏潜藏表白的钢琴曲，下一秒就被你挥之即去，我到底算什么？你到底喜欢我吗？还是无聊寂寞时的消遣？
特瑞斯怀揣着最好的爱情，却背负着最坏的身份。
7.什么是道德？
在禁止卡罗尔见她女儿的强制令中，提到的理由是，Morality.看到Carol提到Abbey恍然大悟又欲言又止的时候，我默默骂了句fuck,甚至我想到余虹在《颐和园》里讲的，“什么是道德？两个人在一起才是道德”。我为卡罗尔跟特瑞斯难过，也为Abbey难过，因为在世俗的观念中，爱与道德竟然是不相容的，这真是讽刺。那是五十年代的美国，又何止是五十年代的美国，那不就是现在的世界吗。有的人永远不明白，欺骗自己才是最大的不道德。
8.I fell useless.
这是特瑞斯在卡罗尔告诉她，自己在强制令下无法看望女儿时所说的话。之所以对这句话印象深刻，是因为这似乎是同性群体中最普遍的无力感，“我觉得自己很没用”。我既没有能力为你分担艰辛，又找不到方法令你舒展愁容，看起来陪伴是唯一能做的事情，也有文艺的话来相称“陪伴是最长情的告白”。
可是，我并不只想陪伴你。
我想在你丈夫质问你时挺身而出，告诉他我们是因为相互喜欢而认识；我想同你一起争夺回监护孩子的权力，一起打扮世界上最好看的圣诞树；我想带你逃离世俗的社会，在你说my angle之前吻上你。我想的很多，可是，我一件都做不到，我甚至无法以家人的身份在你的手术单上签字，这是我最难过而无力的地方。
9.偷来的时光
床戏拍的美的不多，《卡罗尔》要算一个。美不是色情，不是你想跟她做爱，而是除了她们两个，你觉得谁跟她们做爱都显得不美好。《卡罗尔》的床戏时间不长，也不激烈，可是你看的时候就会觉得暗涌流动，你会不忍心联想污秽。凯特的淡然自若，鲁尼的紧张颤抖，卡罗尔霸道的索取，特瑞斯默默的承受，轻车熟路的年上，红到耳根的年下，缓慢又炽热，相拥又绝望。那一刻我甚至怀疑她们在戏外是不是相爱的。
很少有这样的床戏，让人看的难过。她们迫切的将自己献给对方，她们知道前路无望而漫长，好像在一起的一小段时光都是偷来的，总是要还回去。所以离别前与卡罗尔亲近的特瑞斯，眼睛里挤满了沉默的悲伤，我担心她就想这样死在卡罗尔的怀里。其实一切，她是有预感的。
10.抱得上一晚，撑不过一生
发现被监听往回赶的路上，特瑞斯坐在副驾驶上哭着自责，她说自己应该拒绝的，她怨自己什么都不懂就什么都接受。卡罗尔停下车，抱着她，吻她，帮她擦眼泪，轻声说”I took what you give willingly”.听到这句话，我难过到想流泪，“我想要的你可能全给不了，可是你愿意给的那一点，我都想要”，她们彼此给予，却又暗自担忧因自己给对方带来的麻烦。悲情两难。
特瑞斯从小是独立长大的，从她干脆的语调也能感觉出，她并不软弱，或许是鲁尼本身的特质，特瑞斯给人的感觉近乎是强硬，可是，只有面对卡罗尔的时候，她整个人才会软下来，成为一个需要呵护渴望宠爱的小女孩，这里面或多或少有对卡罗尔的依赖。我愿意相信她懂”I took what you give willingly”.
最后卡罗尔还是走了，为了回去争夺女儿的监护权，像及了一个事后跑路的段数，然后前女友来收拾与现女友的残局，留下一封既渣又深情的信。包在被子里的特瑞斯如同被抛弃的小白兔，无辜的感受着昨晚的温存，揽入怀中的一晚，却还是撑不过一生。
11.原谅我不能陪你长大
“you seek resolutions and explanations because you’re young”.我没想到卡罗尔的信中会有这样一句，看起来如此狠心。明明是你主动撩骚，最后却让人家小姑娘自己去找解决的方法跟解释，就是因为她年轻。突然的就想起看到的一句话，“珍爱生命，远离人妻”，对于这种有备胎和下家的人，敬而远之是上策。可是就在后面她哑着嗓子对Abbey说”I should tell Therese ,wait”时，我内心隐隐作痛的替特瑞斯原谅了她。
她不是不想陪你长大，只是有更重要的人需要她。是，孩子。无论如何，让一位母亲处于选择自己孩子跟爱人两难的位置上，都过于残忍。
于是，她选择让特瑞斯独自成长，即使特瑞斯怀有误解与怨恨，也不多解释一句，只是说”I release you”,她在等待，等你长大，等以后成熟的时机，再共你促膝把酒。
12.I miss you,I miss you.
特瑞斯在暗房里洗过去的照片，一张张都是关于卡罗尔。照片上的人慵懒妩媚，照片外的人情欲暗动，她走出去拿起电话又放下，又拿起来，拨通。她叫她的名字，”Carol”,电话那边的她手指徘徊在挂断的按钮处，煎熬无比，最后，挂断。特瑞斯对着忙音说，I miss you,I miss you.
连想念你，我都无法说给你听。两个人的隐忍、克制与轰轰烈烈。
13.不是我们不美好，是这个世界太丑陋
这并不是一部冲突不断的片子，以至于无法令人血脉喷张、震惊无比，即便节奏因为电影的时长看上去有些赶，但故事情节发展及其缓慢的，卡罗尔与他丈夫最后的谈判，大概是影片唯一引爆点。可是连这个场面，都被拍成是一种被压抑着的感觉，没有撕破嘴脸。
这一段凯特的演技着实让我大为感叹不愧是女王。发颤的声音、隐忍的表情，你会担心下一秒她就要崩溃了，就要歇斯底里了，就要咒骂整个世界了，但是，她没有。哪怕内心早已腥风血雨，表面还是死死的绷着，绷着自己的尊严与优雅，绷着对特瑞斯的直视与无悔，穿上外套，离开身后的卑鄙与肮脏。
在离开之前她说了这样一句话，”and it will get ugly,we’re not ugly people”。这句令我异常难过，想到《奇葩说》里蔡康永第一次失态痛哭的场景，好像一个委屈的孩子在恳求这个世界的包容，他说“我们不是妖怪”。为什么要世人包容呢？如若是正常，如若是平等，为什么要别人去包容，包容给人一种高高在上的感觉。卡罗尔的丈夫用了无比卑劣的手段去偷窥她们隐私，而卡罗尔最后却说”we’re not ugly people”.她对人性还抱有一丝希望，她希望大家不用凶神恶煞的以丑陋嘴脸相见，她希望这个世界是美好的。
14.你不在的日子，我兀自成长
是不是所有人都有一种高估自己的倾向，愿意看到别人的失落或欢欣都是因为自己？卡罗尔濒临崩溃的谈判过后约特瑞斯一起吃饭，这时的特瑞斯已经是某著名杂志的摄影师，小文青实现了自己的梦想。卡罗尔说，“我觉得你长大了，现在变得特别好”，停顿一秒问，“是因为离开我吗？”
看到这里我忍不住笑，天呐，为什么人们总是心知肚明却还是想要听别人亲口承认。
然而特瑞斯跟我预想的一样，急切又坚定的回答，NO.我又忍不住笑出来，女人之间的较量总是这样，看似不着边际，却又毫厘不差的暗自博弈。你当初狠心的离开了，那要我怎样？我只能兀自成长，我不是自愿的，我也想有你时刻在旁为我安抚保我周全，可是是你逼我要自己长大的，你说release，如今你又跑来问我，是不是因为你？
不，我偏不让你得逞，我就不承认一切都是因为你，痛苦因为你欢愉因为你颓废因为你成长因为你变好因为你，尽管一切与你有关，如今我却不想再轻易交出自己。“难道 这次抱紧就不会落空？”
而且我这次不仅不想承认是因为你，我还要拒绝你。即使你表达说，“我离婚了，孩子归丈夫，我在美国最贵房价的地方有一套大房子，你愿意搬来跟我一起住吗？Would you?”停顿五秒，”I love you”.（这样的表白，哪个妹子不脱光了跟她走...）
“No,I don’t think so”.特瑞斯学会了拒绝她。
我想，卡罗尔内心当时也是崩溃的，“我自己养成的花竟然在我不在的日子学会了拒绝我，让我冷静冷静”。但是，御姐总是有这样的本事，她深知特瑞斯的拒绝不是因为不爱她，而是小姑娘长大了，有自己的骄傲了，她不愿被呼之则来挥之即去，她想要平等的交往。
于是，她退一步。她吃定了特瑞斯心里有她。
15.我知道你在等我，所以我去寻你
这场电影规避了尽可能的人，只留下几个必须出现的角色，这就太考验演员的演技功力了。而鲁尼在这部影片中，丝毫不逊色于凯特，甚至在我心中，鲁尼更为真实出色那么一些（她演完真的不会弯吗...）尤其是最后几慕戏中，鲁尼的表现惊为天人。
卡罗尔在用餐时与她的对视，鲁尼复杂的眼神，因为深呼吸引起前胸轻微的起伏，欲拒还迎，欲迎还拒的拿捏，倔强又骄傲。（大魔王竟然忍住没有强吻上去...）
最后一幕，特瑞斯穿过人群眼光寻找着卡罗尔，当她发现卡罗尔坐在被环绕的桌子后面时，特瑞斯眼神中是闪过那么几秒犹豫的，她停下来，也许是在回想过去，也许是在担心未来，可是也只有那么几秒，她还是义无反顾的走向了卡罗尔，走向了自己的命运。
而看到她的卡罗尔，并未显得多么惊讶，而是望向她，笑的意味深长。
“我知道你会来，所以我等”
“我知道你在等我，所以我去寻你”
没有谁更技高一筹，也没有谁更毅然笃定。
16.所谓视角转换
从电影一开始，卡罗尔就是处于被仰视的角度，主动权一直握在她手里；而特瑞斯就是个孩子，对她充满了仰慕和崇拜，被动的接受着。她们之间是不平等的。不仅是阶级身份地位，更多的是精神上的差距。
但这些差距在慢慢被化解。
特瑞斯的拒绝、穿着、工作、思想，无一不显示了这些差距的缩小，小姑娘也有长大的时候，这种平等，是两个人接下来交往的前提，卡罗尔是先知的，所以她在离开的时候信中才写“当那天到来时，我希望你能想象我会在那里，迎接你，我们的生命将在那里交汇，如同永恒的日出。但是在那之前，我们之间不能有任何联系，我需要做很多的事情，而你，我亲爱的，你需要做的更多...而我唯一能做的就是放手让你走”。
很多人看到这里会说卡罗尔渣，可是，这正是一个成熟女人深思熟虑后的决定，她在逼迫特瑞斯长大。而特瑞斯做到了。
17.两次凝望
第一次是卡罗尔坐在车里，望着走在街上的特瑞斯，想喊住她又不能，只有看她消失在自己的视野之中还没有回过头。凯特完美的在无声之中表现出卡罗尔内心的纠结与不忍，但又必须克制自己冲动的感情。第二次是特瑞斯拒绝卡罗尔后，她坐在朋友的车里，看着卡罗尔走在街上，“你看，我终于学会了拒绝你，可是为什么会这么难过？你在想什么？也会这样难过吗？”
其实，这部电影很像御姐一手将小朋友调教好的养成记。所谓御姐，并不只是有钱有颜，最重要的是她们思想独立，有自己站立在这个世界的坐标系和判断事物价值的独特方式，她们还聪明，恰到好处的世故和足够多的安全感，跟她们在一起会感到舒服。有人说，跟年纪大的人相处，像是在挖掘一座宝藏，每天都有新的惊喜，总有很多你不知道的事；跟年纪小的人相处，像种花，可以看到她们每一天的变化。卡罗尔跟特瑞斯就是这样的搭配，真是令人欢喜。
还有，这是一部每一帧都令人想落泪的电影，可是它又克制到让你觉得眼泪似乎不是那么优雅，而我，真的被这种让人哭不出来的浪漫给深深打动。
[img=1:C]微信公众号：badcode
可能几百年不说话，也可能话痨。[/img]
那一幕中特瑞斯穿过人群，穿过痛苦与成长，穿过凄凉荒漠与泥淖沼泽，定定的看着卡罗尔，继而义无反顾的走向她，也走向了自己的命运；命运的另一端卡罗尔同样望向她，眼神笃定又昧味，我知道你会来，所以我等。一眼万年。
还好不是“此刻我多想拥抱你，可惜时光之里山南水北，可惜你我中间人来人往”，还好一切都还来得及，我为这样的Happy Ending暗自庆幸。有人曾问某位女同博主，“你开这个微博是不是在说还是有人幸福的？”她回，“不是，是在说还是有人在坚持的”。同性恋题材影片的Happy Ending意义大概也在这般。
整部影片以倒叙的方式，建构于五十年代美国的大背景下，服饰、音乐、建筑、交通工具复古、优雅并透露着极简的禁欲系。片头以卡罗尔与特瑞斯最后的进餐为开始，一辆火车驶过，镜头拉到两人第一次见面的场景，特瑞斯是给卡罗尔推荐小火车模型的超市雇员，如同后面卡罗尔给特瑞斯的信中提到“Everything comes full circle”，一切恍如隔世，世间万物千回百转归于原点，犹如轮回。
1.Some people change your life forever.
凯特所饰的卡罗尔几乎满足了我对御姐的所有幻想，漂亮优雅、温柔多金、有思想会疼人，重要的是，她还分分钟向我们展示教科书级别的撩妹技能。光是性感的声线，听一句都害怕会怀孕。这样的卡罗尔，有谁能不被她吸引？于是特瑞斯在一场猝不及防的对视中与卡罗尔相遇，只因为这一眼，”Some people change your life forever.”卡罗尔故意遗落的手套，特瑞斯痴汉般盯着她忘记下单的神情，注定纠缠不清。
2.试探
卡罗尔约特瑞斯第一次午餐，她问”Did you live alone?”，这就是成熟女人的聪明之处，她不直接问你“你有男朋友吗？”她问你“你是自己一个人住吗？”年长的人，阅历将她们淬炼的懂得如何将问题说的进退自如，既不令对方难堪又能保持自己的空间。
3.What a strange girl you are,flung out of space.
卡罗尔对总是神色游离的特瑞斯说这句话，是我最喜欢的场景之一。鲁尼的笑很美，是那种不自知的美，与《龙纹身的女孩》中叛逆不羁形成鲜明对比。《龙纹身》里她是一个主动女上位007的朋克攻少女，而《卡罗尔》里她俨然成为一个无意中自带一抹娇羞的大写弱受。很多人不理解特瑞斯对卡罗尔的感情，以及频繁出现的羞赧，其实只要暗恋过的人就会知道，那是内心的小雀跃与不确定的体外表征。面对一个比自己优秀的年上，崇拜带着点暧昧，被夸奖后的惊讶跟欣喜，对她话语的揣摩跟模仿，特瑞斯不过就是年少时懵懵懂懂的自己。
4.信
特瑞斯第一次写下Carol名字的时候，我有被打动到。网络时代你见过很多温暖的小段子，而作为一个不再年轻的怪阿姨，我经历过手写信的时代尾声。那个时候，花上一整个夜晚，写一封词不达意的信，寄给一个并不在未来里的人，想象读信人的表情，期待她能感受到自己的全部情谊。Carol，写在纸上的名字，记在心里的样子。
5.你不是不会拒绝，你只是不会拒绝她
前面看特瑞斯制止了她杂志社朋友的亲吻时，并未想太多，直到后半部分监听风波过后，特瑞斯跟卡罗尔自责到，“是自己从来不懂拒绝，什么都不了解却还是什么都不拒绝”，我突然就笑了出来。特瑞斯，谁说你不懂拒绝？你拒绝了未来男同事的吻，拒绝了男友的法国邀请，拒绝了更好更圆的月亮，你只是，不拒绝她。
无力拒绝。不想拒绝。卡罗尔每次询问你”would you?”，你都不假思考毫不犹豫的回答”yes,I would”，除了最后一次，都是，毫不犹豫。第一次约饭，你愿意吗？我愿意；第一次问你愿意来我家吗？我愿意；第一次问我可以去你家吗？我愿意；第一次问，你愿意跟我一起去西部吗？我愿意。
这才是问题所在，你不是不能拒绝，你只是不想拒绝，她。
6.最好的爱情，最坏的身份
看《卡罗尔》我哭不出来，因为太真实了，反而让我时刻惊醒自己，你要抗住，这就是生活，你不能哭，不然你就输了。可以说，这是个单薄又俗气的故事，女人跟女人的感情本来就细腻无比，表演的过了容易显得用力过猛，表演的清浅又让感情看上去太羸弱，所以，几乎是凯特女王跟鲁尼的演技和内心戏撑起了整部电影。
鲁尼的表现让我惊讶，甚至比女王更动人，在从卡罗尔家里出来坐火车回住处的一幕戏中，她倔强的眼泪从脸上掉下来，我心里也跟着落泪。那是要多委屈，才能击垮对卡罗尔的迁就，我喜欢你，你也处处暗示对我有好感，你约我到你家却意外撞上你的丈夫，他的责问你的冷淡，迫使我就这样狼狈而逃。刚刚我还弹奏潜藏表白的钢琴曲，下一秒就被你挥之即去，我到底算什么？你到底喜欢我吗？还是无聊寂寞时的消遣？
特瑞斯怀揣着最好的爱情，却背负着最坏的身份。
7.什么是道德？
在禁止卡罗尔见她女儿的强制令中，提到的理由是，Morality.看到Carol提到Abbey恍然大悟又欲言又止的时候，我默默骂了句fuck,甚至我想到余虹在《颐和园》里讲的，“什么是道德？两个人在一起才是道德”。我为卡罗尔跟特瑞斯难过，也为Abbey难过，因为在世俗的观念中，爱与道德竟然是不相容的，这真是讽刺。那是五十年代的美国，又何止是五十年代的美国，那不就是现在的世界吗。有的人永远不明白，欺骗自己才是最大的不道德。
8.I fell useless.
这是特瑞斯在卡罗尔告诉她，自己在强制令下无法看望女儿时所说的话。之所以对这句话印象深刻，是因为这似乎是同性群体中最普遍的无力感，“我觉得自己很没用”。我既没有能力为你分担艰辛，又找不到方法令你舒展愁容，看起来陪伴是唯一能做的事情，也有文艺的话来相称“陪伴是最长情的告白”。
可是，我并不只想陪伴你。
我想在你丈夫质问你时挺身而出，告诉他我们是因为相互喜欢而认识；我想同你一起争夺回监护孩子的权力，一起打扮世界上最好看的圣诞树；我想带你逃离世俗的社会，在你说my angle之前吻上你。我想的很多，可是，我一件都做不到，我甚至无法以家人的身份在你的手术单上签字，这是我最难过而无力的地方。
9.偷来的时光
床戏拍的美的不多，《卡罗尔》要算一个。美不是色情，不是你想跟她做爱，而是除了她们两个，你觉得谁跟她们做爱都显得不美好。《卡罗尔》的床戏时间不长，也不激烈，可是你看的时候就会觉得暗涌流动，你会不忍心联想污秽。凯特的淡然自若，鲁尼的紧张颤抖，卡罗尔霸道的索取，特瑞斯默默的承受，轻车熟路的年上，红到耳根的年下，缓慢又炽热，相拥又绝望。那一刻我甚至怀疑她们在戏外是不是相爱的。
很少有这样的床戏，让人看的难过。她们迫切的将自己献给对方，她们知道前路无望而漫长，好像在一起的一小段时光都是偷来的，总是要还回去。所以离别前与卡罗尔亲近的特瑞斯，眼睛里挤满了沉默的悲伤，我担心她就想这样死在卡罗尔的怀里。其实一切，她是有预感的。
10.抱得上一晚，撑不过一生
发现被监听往回赶的路上，特瑞斯坐在副驾驶上哭着自责，她说自己应该拒绝的，她怨自己什么都不懂就什么都接受。卡罗尔停下车，抱着她，吻她，帮她擦眼泪，轻声说”I took what you give willingly”.听到这句话，我难过到想流泪，“我想要的你可能全给不了，可是你愿意给的那一点，我都想要”，她们彼此给予，却又暗自担忧因自己给对方带来的麻烦。悲情两难。
特瑞斯从小是独立长大的，从她干脆的语调也能感觉出，她并不软弱，或许是鲁尼本身的特质，特瑞斯给人的感觉近乎是强硬，可是，只有面对卡罗尔的时候，她整个人才会软下来，成为一个需要呵护渴望宠爱的小女孩，这里面或多或少有对卡罗尔的依赖。我愿意相信她懂”I took what you give willingly”.
最后卡罗尔还是走了，为了回去争夺女儿的监护权，像及了一个事后跑路的段数，然后前女友来收拾与现女友的残局，留下一封既渣又深情的信。包在被子里的特瑞斯如同被抛弃的小白兔，无辜的感受着昨晚的温存，揽入怀中的一晚，却还是撑不过一生。
11.原谅我不能陪你长大
“you seek resolutions and explanations because you’re young”.我没想到卡罗尔的信中会有这样一句，看起来如此狠心。明明是你主动撩骚，最后却让人家小姑娘自己去找解决的方法跟解释，就是因为她年轻。突然的就想起看到的一句话，“珍爱生命，远离人妻”，对于这种有备胎和下家的人，敬而远之是上策。可是就在后面她哑着嗓子对Abbey说”I should tell Therese ,wait”时，我内心隐隐作痛的替特瑞斯原谅了她。
她不是不想陪你长大，只是有更重要的人需要她。是，孩子。无论如何，让一位母亲处于选择自己孩子跟爱人两难的位置上，都过于残忍。
于是，她选择让特瑞斯独自成长，即使特瑞斯怀有误解与怨恨，也不多解释一句，只是说”I release you”,她在等待，等你长大，等以后成熟的时机，再共你促膝把酒。
12.I miss you,I miss you.
特瑞斯在暗房里洗过去的照片，一张张都是关于卡罗尔。照片上的人慵懒妩媚，照片外的人情欲暗动，她走出去拿起电话又放下，又拿起来，拨通。她叫她的名字，”Carol”,电话那边的她手指徘徊在挂断的按钮处，煎熬无比，最后，挂断。特瑞斯对着忙音说，I miss you,I miss you.
连想念你，我都无法说给你听。两个人的隐忍、克制与轰轰烈烈。
13.不是我们不美好，是这个世界太丑陋
这并不是一部冲突不断的片子，以至于无法令人血脉喷张、震惊无比，即便节奏因为电影的时长看上去有些赶，但故事情节发展及其缓慢的，卡罗尔与他丈夫最后的谈判，大概是影片唯一引爆点。可是连这个场面，都被拍成是一种被压抑着的感觉，没有撕破嘴脸。
这一段凯特的演技着实让我大为感叹不愧是女王。发颤的声音、隐忍的表情，你会担心下一秒她就要崩溃了，就要歇斯底里了，就要咒骂整个世界了，但是，她没有。哪怕内心早已腥风血雨，表面还是死死的绷着，绷着自己的尊严与优雅，绷着对特瑞斯的直视与无悔，穿上外套，离开身后的卑鄙与肮脏。
在离开之前她说了这样一句话，”and it will get ugly,we’re not ugly people”。这句令我异常难过，想到《奇葩说》里蔡康永第一次失态痛哭的场景，好像一个委屈的孩子在恳求这个世界的包容，他说“我们不是妖怪”。为什么要世人包容呢？如若是正常，如若是平等，为什么要别人去包容，包容给人一种高高在上的感觉。卡罗尔的丈夫用了无比卑劣的手段去偷窥她们隐私，而卡罗尔最后却说”we’re not ugly people”.她对人性还抱有一丝希望，她希望大家不用凶神恶煞的以丑陋嘴脸相见，她希望这个世界是美好的。
14.你不在的日子，我兀自成长
是不是所有人都有一种高估自己的倾向，愿意看到别人的失落或欢欣都是因为自己？卡罗尔濒临崩溃的谈判过后约特瑞斯一起吃饭，这时的特瑞斯已经是某著名杂志的摄影师，小文青实现了自己的梦想。卡罗尔说，“我觉得你长大了，现在变得特别好”，停顿一秒问，“是因为离开我吗？”
看到这里我忍不住笑，天呐，为什么人们总是心知肚明却还是想要听别人亲口承认。
然而特瑞斯跟我预想的一样，急切又坚定的回答，NO.我又忍不住笑出来，女人之间的较量总是这样，看似不着边际，却又毫厘不差的暗自博弈。你当初狠心的离开了，那要我怎样？我只能兀自成长，我不是自愿的，我也想有你时刻在旁为我安抚保我周全，可是是你逼我要自己长大的，你说release，如今你又跑来问我，是不是因为你？
不，我偏不让你得逞，我就不承认一切都是因为你，痛苦因为你欢愉因为你颓废因为你成长因为你变好因为你，尽管一切与你有关，如今我却不想再轻易交出自己。“难道 这次抱紧就不会落空？”
而且我这次不仅不想承认是因为你，我还要拒绝你。即使你表达说，“我离婚了，孩子归丈夫，我在美国最贵房价的地方有一套大房子，你愿意搬来跟我一起住吗？Would you?”停顿五秒，”I love you”.（这样的表白，哪个妹子不脱光了跟她走...）
“No,I don’t think so”.特瑞斯学会了拒绝她。
我想，卡罗尔内心当时也是崩溃的，“我自己养成的花竟然在我不在的日子学会了拒绝我，让我冷静冷静”。但是，御姐总是有这样的本事，她深知特瑞斯的拒绝不是因为不爱她，而是小姑娘长大了，有自己的骄傲了，她不愿被呼之则来挥之即去，她想要平等的交往。
于是，她退一步。她吃定了特瑞斯心里有她。
15.我知道你在等我，所以我去寻你
这场电影规避了尽可能的人，只留下几个必须出现的角色，这就太考验演员的演技功力了。而鲁尼在这部影片中，丝毫不逊色于凯特，甚至在我心中，鲁尼更为真实出色那么一些（她演完真的不会弯吗...）尤其是最后几慕戏中，鲁尼的表现惊为天人。
卡罗尔在用餐时与她的对视，鲁尼复杂的眼神，因为深呼吸引起前胸轻微的起伏，欲拒还迎，欲迎还拒的拿捏，倔强又骄傲。（大魔王竟然忍住没有强吻上去...）
最后一幕，特瑞斯穿过人群眼光寻找着卡罗尔，当她发现卡罗尔坐在被环绕的桌子后面时，特瑞斯眼神中是闪过那么几秒犹豫的，她停下来，也许是在回想过去，也许是在担心未来，可是也只有那么几秒，她还是义无反顾的走向了卡罗尔，走向了自己的命运。
而看到她的卡罗尔，并未显得多么惊讶，而是望向她，笑的意味深长。
“我知道你会来，所以我等”
“我知道你在等我，所以我去寻你”
没有谁更技高一筹，也没有谁更毅然笃定。
16.所谓视角转换
从电影一开始，卡罗尔就是处于被仰视的角度，主动权一直握在她手里；而特瑞斯就是个孩子，对她充满了仰慕和崇拜，被动的接受着。她们之间是不平等的。不仅是阶级身份地位，更多的是精神上的差距。
但这些差距在慢慢被化解。
特瑞斯的拒绝、穿着、工作、思想，无一不显示了这些差距的缩小，小姑娘也有长大的时候，这种平等，是两个人接下来交往的前提，卡罗尔是先知的，所以她在离开的时候信中才写“当那天到来时，我希望你能想象我会在那里，迎接你，我们的生命将在那里交汇，如同永恒的日出。但是在那之前，我们之间不能有任何联系，我需要做很多的事情，而你，我亲爱的，你需要做的更多...而我唯一能做的就是放手让你走”。
很多人看到这里会说卡罗尔渣，可是，这正是一个成熟女人深思熟虑后的决定，她在逼迫特瑞斯长大。而特瑞斯做到了。
17.两次凝望
第一次是卡罗尔坐在车里，望着走在街上的特瑞斯，想喊住她又不能，只有看她消失在自己的视野之中还没有回过头。凯特完美的在无声之中表现出卡罗尔内心的纠结与不忍，但又必须克制自己冲动的感情。第二次是特瑞斯拒绝卡罗尔后，她坐在朋友的车里，看着卡罗尔走在街上，“你看，我终于学会了拒绝你，可是为什么会这么难过？你在想什么？也会这样难过吗？”
其实，这部电影很像御姐一手将小朋友调教好的养成记。所谓御姐，并不只是有钱有颜，最重要的是她们思想独立，有自己站立在这个世界的坐标系和判断事物价值的独特方式，她们还聪明，恰到好处的世故和足够多的安全感，跟她们在一起会感到舒服。有人说，跟年纪大的人相处，像是在挖掘一座宝藏，每天都有新的惊喜，总有很多你不知道的事；跟年纪小的人相处，像种花，可以看到她们每一天的变化。卡罗尔跟特瑞斯就是这样的搭配，真是令人欢喜。
还有，这是一部每一帧都令人想落泪的电影，可是它又克制到让你觉得眼泪似乎不是那么优雅，而我，真的被这种让人哭不出来的浪漫给深深打动。
[img=1:C]微信公众号：badcode
可能几百年不说话，也可能话痨。[/img]
7 ) 无关男女，谁不想要一个Carol这样的情人呢？|一刷瞎YY
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？
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？
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。
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。
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。★★★★
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。
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。
直男恋爱教学篇 送相机请附带胶卷好嘛
已经闻到拿奖的气息了
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
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。
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
请一定去看这部电影。它满足了我对御姐的所有幻想。我跪着出了电影院。
“我离婚了，孩子归对方，在麦迪逊大道有个大房间，你想来住吗”隔五秒“我爱你” #什么妹子把不到
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。
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。
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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。
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。
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。