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While Highsmith’s first book “Strangers on a Train” sold to Hollywood for a lot of money, “she had nothing to do with it,” said Nagy. She never was hired by the studios. “And then she wrote ‘The Price of Salt,’ and she was wanting to publish it, and her publisher said, ‘You know, you might want to publish this other thing under a different name, because it’s not…’ They wouldn’t have said ‘the brand,’ but it was basically that. She said, ‘Okay, fine.’ I think, over the years, it had its rabid fanbase because it was the first novel written by a lesbian woman with an ending that was happy.”
Read: ‘Carol’ Producer Christine Vachon Talks Being Queen of the Croisette
Read: Cannes review: ‘Carol’
Unlike many gay movies, these characters proceed to act on their desires, which do not “give them pause,” said Nagy. “That is what I think gives it a subliminal power. No, there is no speech about, ‘Should we be gay? Is this the right thing?’ It’s like a strange, subversive world of gay women at different points in their lives. Abby [Sarah Paulson], who’s just out there; Carol, who wants to be out there and has to make that choice; and Therese, who’s just finding out.”
“It was so much about looking at classic love stories,” said Haynes. “The most memorable ones were those that put you on the side of the weaker and usually more desiring subject, and that puts you from Therese to Carol. I always love it when words escape characters, and there’s things that happen that can’t be articulated, or go beyond articulation, also that that is really where the visual language of film is given its most necessity. I tried to find a visual language for describing what was going on in these very separate lives, limited lives — locked-up lives, in many ways. But it’s a quiet film, and I didn’t necessarily know how that would draw people in or not. I felt incredibly moved by the performances, and then all of the creative partnerships — from Judy Becker’s design to Ed Lachman’s cinematography to working with Affonso Gonçalves again in the editing to Carter Burwell’s score — was just such an essential part of that process.”
Haynes and costume designer Sandy Powell talked to the actresses about finding the looks of the two characters. “It was a key process,” said Haynes, “because so much of it is also about an extremely codified period for women. Carol is the emblem of both a certain privileged class and a perfect manifestation of female glamour and elegance. That sort of disarms Therese, and maybe, if anything, initially furthers her anxiety about herself and who she is. But it ultimately informs it, so we used Carol’s look as a way of defining the movement that Therese ultimately makes to the end, where she grows up and changes and she wears a full skirt and cuts her hair and all of those things. She’s just a dead ringer Jean Simmons!”
Watch: Cannes Video: Haynes, Mara and Blanchett Talk ‘Carol’
Other alterations from the book include Haynes’ “Brief Encounter”-inspired bookend, and more information about Carol’s life. “You’re free to imagine Carol’s life, which is not fully imagined in the book,” said Nagy. “So that was the first thing: to really focus on the nature of what it’s like to fall in love from two points of view. The other thing is that they are just behaving. They are not inhabiting positions.”
“I love that brief scene where you’re introduced to Celia Johnson and Trevor Howard,” said Haynes, “as if they’re extras in the background of the movie, and then you realize, ‘Oh, no — this is going to be their story, her story in particular,’ and the whole film is her narration to her husband when she goes home. And then you come around, full circle, to that same day, and you know what that conversation was about, given her experience. We do the same thing.'”
What was important to Nagy to include was what she considers “one of the major points of the book,” she said. “The most subversive thing that happens: the woman who releases her child, because she can’t be a good parent until she is herself. You accept it. That was the major thing that we had to get, as far as I was concerned. Otherwise, it becomes ‘Kramer vs. Kramer.’ And Cate nailed that.”
For her part, Nagy hopes that with success for “Carol” she’ll be able to move forward on some of her other projects. She’s writing one adaptation for Colin Firth, and a movie about the Welsh actress Rachel Roberts, she said, “which is another parable of what happens to women with real talent, but some real problems.”
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