Bottoms Up! Cate Blanchett and Rooney Mara Give Director Todd Haynes’s Bum …

18 May 2015 | Author: | No comments yet »

Cannes swoons for ‘Carol,’ Todd Haynes’ ’50s lesbian romance.

CANNES, France (AP) — “Carol,” Todd Haynes’ 1950s lesbian romance with Cate Blanchett and Rooney Mara, had the Cannes Film Festival swooning after its premiere.At one point, during Sunday’s Cannes press conference for the Todd Haynes film Carol, about a lesbian romance in 1952, Cate Blanchett was obliged to clarify a recent quote from Variety, that the married mother of four had plenty of personal experiences to draw on for her character. “From memory, the conversation ran: ‘Have you had relationships with women?’” said Blanchett. “And I said: ’Yes, many times. The long-in-development adaptation of Patricia Highsmith’s novel was received rapturously at Cannes for its tale of an illicit love between two women in conservative ’50s New York. Speaking to reporters Sunday, Blanchett said “Carol” is more than a period piece. “We’re living in deeply conservative times,” said Blanchett, noting that in many countries, homosexuality is still illegal. “And if we think otherwise, then we’re very foolish.” “Carol,” based on Highsmith’s 1952 novel “The Price of Salt,” was one of the most anticipated films at Cannes and emerged a likely contender for the Palme d’Or and, later in the year, the Academy Awards.

Call me old fashioned but I thought one’s job as an actor was not to present one’s boring, small, microscopic universe but to make a psychological connection to another character’s experiences.” Haynes’ first feature since 2007’s unorthodox Bob Dylan biography, I’m Not There, is an adaptation of a novel by Patricia Highsmith, the famed psychological mystery writer best known for Stranger on a Train and the Ripley novels. The eroticism of “Carol” comes largely through subtle, hidden gestures, but Blanchett and Mara were asked about shooting the film’s tasteful sex scene. In the film, Blanchett stars as a lonely, upper-crust married woman who forms a relationship with a young shopgirl, Therese (The Girl with the Dragon Tattoo’s Rooney Mara), arguably a young stand-in for the young Highsmith herself.

Harris about the Scarsdale Diet doctor murder) was working as a researcher for The New York Times Magazine when she met Highsmith, who had been commissioned to write a walking tour of Brooklyn’s Green-Wood Cemetery. The two women became long-distance friends – Highsmith spent the latter part of her life in Switzerland – and the author suggested Nagy might like to adapt one of her novels for the screen. It took another 15 years for Carol to come to fruition, with various directors including Kenneth Branagh attached to the film, before Haynes came on board, though it’s hard to imagine a director who would be better suited. As cinematographer Edward Lachman put it, “we were trying to further the work of Mildred Pierce, a kind of soiled naturalistic look using mid-century world of photographers like Vivian Meier.” “The most affecting stories about love are always rooted in point of view,” said Haynes. “In Phyllis’ screenplay, you’re always in the point of view of the more amatory, and thus, less powerful, character.

But that changes over the course of the film.” One film he cites is Brief Encounter, David Lean’s drama about a more conventional illicit relationship, and, similarly, more interested in the glowing coals than the actual flame. Most striking, and what makes you want to watch Carol again after a first viewing, is the beautifully lit and photographed faces of the two actresses, with their classic Hollywood sculptural looks.

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