An excellent cold war thriller from Steven Spielberg helped enormously by the contrasting acting skills of Tom Hanks and Mark Rylance. It seemed amazing that an insurance lawyer, James Donovan (Hanks) would end up negotiating for the release of U2 pilot Gary Powers, just because nobody else wanted to be involved with the captured Russian spy (Rylance). Directed with customary bravado with marvelous panoramic location photography, this was enjoyable throughout.
A modern take on an old story, this time only just passable due to a brilliantly maniacal James McAvoy as Victor. This was meant to be a fun movie and on that level it did OK. Unfortunately the story is told through the eyes of Igor and Daniel Radcliffe is pretty lame. The script is pretty awful so don't go blaming the director and the CGI is cheap.
Carol is a totally different proposition altogether. A superb and beautiful piece of cinema that is almost better after viewing as so much lingers in the mind. Forget the Oscar worthy cinematography, costumes, sets, lighting and sound. 1950's New York has never looked so good. Whilst they play an extraordinary part, it is the depth of the relationship between Cate Blanchett as Carol and Rooney Mara as Therese that is so effecting. Their performances, so wonderfully tailored by director Todd Haynes, are those of the unspoken law of restraint that permeates their conversations. This prevents the two leads from expressing their feelings for each other and as such they are left in limbo and it is their heartache we feel, not sadness as described by some critics. Their yearning is unforgettable.
Some have described Carol herself as being beautiful. But I disagree. She is glamorous, yes, and intimidatingly smart, but some bitterness and unhappiness (that may be where sad comes from) prevents any beauty appearing in that startling face. Is she just a predator when it comes to Therese? I don't think so, she is careful not to push her new friend and makes no demands. When it comes to the crunch it is Therese who unexpectedly takes the lead.
There are some quite riveting scenes. The opening tracking shot is brilliant, and the scene with the lawyers unforgettable. That might just tip the Oscar Blanchett's way when in any other year it would be Mara collecting the gong as she did at Cannes. And then the ending is so blindingly subtle and emotional. Not a word is uttered as Therese is bravery personified.
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