CAROL

Lovers: Cate Blanchett and Rooney Mara

CAROL (2015). Director: Todd Haynes.

"What use am I to her, to us, if I'm going against my own grain?"

In the 1950s Carol Aird (Cate Blanchett) is in the process of divorcing her husband, Harge (Kyle Chandler), when she spots Therese Belivet (Rooney Mara) behind the counter of a department store -- and vice versa. Despite differences in age and class, the two embark upon a friendship and then into a full-fledged sexual and romantic affair. Trouble arrives when Harge decides to sue for sole custody of their adorable daughter, Rindy (Sadie Helm), on charges of aberrant morality. In desperation Carol sends Therese out of her life, but will they ever be able to renew their relationship? Carol is based on "The Price of Salt" by Patricia Highsmith (better known for her thrillers such as Strangers on a Train), perhaps the only lesbian novel that has a positive ending for the two ladies. The climax milks the suspense as we wonder if Rooney can get over the hurt and abandonment she felt and embrace a new life with Carol. The acting in this is good, although Blanchett at first seems too affected and even predatory, but Mara is perfect at delineating her character's hesitation, desire, and acceptance of her sexuality. Kyle Chandler scores as the discarded husband, as does Sarah Paulson as Carol's friend and ex-lover, Abby. and there are notable turns from Trent Rowland as Therese's boyfriend, Jack, Cory Michael Smith as a deceptively nerdy private eye, and John Magaro and Jake Lacey as Therese's friends and co-workers. Carol is handsomely produced, and has a sensitive, if occasionally overly sombre, musical score by Carter Burwell [Mildred Pierce], as well as superior production design (Judy Becker) and photography (Edward Lachman). [The screenplay is  by Phyllis Nagy who sports an almost comically out-dated butch haircut as if she were living in the fifties.] Rooney played a rather negative lesbian/bi character in Side Effects.

Verdict: While this has been riotously over-praised in some quarters, it is a well-acted and worthwhile movie that scrupulously avoids dumb stereotyping. ***.

FAR FROM HEAVEN

Dennis Quaid and Julianne Moore

FAR FROM HEAVEN (2002). Writer/director: Todd Haynes.

"I've fallen in love with someone who wants to be with me."

Todd Haynes, who has obviously seen the Douglas Sirk-directed All That Heaven Allows (produced by Ross Hunter) more than once, came up with this new take 43 years after the original. In Heaven Allows Jane Wyman causes a scandal in a small town because she starts seeing a younger man, Rock Hudson. In Far From Heaven, the scandal occurs when Cathy Whitaker (Julianne Moore) develops a romantic friendship with her black gardener, Raymond (Dennis Haysbert) in 1950s Connecticut. If that didn't create enough problems for her, she brings supper to her husband, Frank (Dennis Quaid) in the office one night and catches him kissing another man. Can husband and wife each find happiness -- with someone else? Far From Heaven deliberately has the style of prime Ross Hunter, as well as a lush romantic score by Elmer Bernstein, and it is quite well-acted by the leads. Haynes avoids the trap of making all of these people too nice -- Frank is initially tormented by his sexuality, but one senses he's not the most pleasant person in the world to begin with and certainly not much of a father. One can quibble with a lot of things about the movie -- there are times when it approaches parody, the characters aren't as dimensional as they might have been, and Cathy seems a little unreal at first -- but it eventually becomes quite compelling and moving. Among the supporting cast, Patricia Clarkson scores as Cathy's friend, as does the authoritative Viola Davis (of Doubt and later star of that absurd but entertaining show How to Get Away With Murder) as Cathy's maid Cynthia. Some viewers thought Raymond was just a token character, which sort of misses the point. Haynes recognizes that a movie set in the fifties can't be too politically correct as it might seem unrealistic.  While Far From Heaven is like a Ross Hunter movie with added depth and dimension, the screenplay still seems like something from the fifties and the picture may be too glossy for its own good. Still, it's a lovely movie. Haynes also wrote and directed the 2011 cable remake of Mildred Pierce. Both Moore and Clarkson played batty mothers in two remakes of Carrie, Moore in 2013 and Clarkson in 2002.

Verdict: Viewers who go with the flow may find this quite rewarding. ***1/2.

MILDRED PIERCE (2011)

Kate Winslet as Mildred

MILDRED PIERCE (2011 HBO mini-series. Director: Todd Haynes.

"I am never coming back to this hovel as long as I live!" --Veda Pierce.

This mini-series is adapted from the same James M. Cain novel that was the basis of the Joan Crawford movie of the same title. This version is much more faithful to the novel, as the Crawford version added a murder sequence that was not in the book and turned the original Mildred Pierce into a classic piece of film noir, which this version is definitely not. In the mini-series Mildred is played by Kate Winslet, who doesn't have Crawford's presence but gives a good performance, although it lacks spontaneity. The story begins in 1931 California where Mildred splits from her husband and is left to take care of their two daughters. As in the original movie, the proud Mildred gets a job as a waitress, bakes pies, opens her own restaurant -- and has to contend with her haughty older daughter, Veda [first played as a child -- and quite well -- by Morgan Turner, who might even have been able to handle the later sequences]. As in the novel Veda is studying piano, but discovers she lacks distinction. In the book she becomes an opera singer in a rather ludicrous fashion, so the mini-series wisely has her talking about it instead of showing it. The other major character is gigolo Monty Beragon, played by a credible Guy Pearce. Mildred Pierce has some fine performances and memorable sequences, such as a tragic death scene for a young character; an interview for a housekeeping job that Mildred has with rich bitch Mrs. Lenhardt [uncredited but very good]; Mildred's reaction when she first hears Veda's singing voice on the radio; and an explosive climax in a bedroom when Mildred sees her daughter's true colors in the cruelest way possible. The adult Veda is played by Evan Rachel Wood, who isn't bad in the part, but she just can't compare to the vicious brilliance of Ann Blyth in the original version [and Pearce can't quite erase memories of smarmy Zachary Scott as Monty]. Mare Winningham, James LeGros, Melissa Leo, Brian F. O'Byrne, and Quinn McColgan are all notable in important supporting roles. Nice music from Carter Burwell. Veda's gorgeous soprano singing voice is supplied by the very talented Sumi Jo.

Verdict: Pretty classy cable mini-series. ***1/2.