Carol (2015)

There’s always been plenty for film fans to fetishise about their favourite medium, whether the unstable nitrate stock used in early cinema (I seem to recall David Fincher’s Se7en was initially released on some kind of ‘silver nitrate’-enhanced print), the threading up of 8mm home movie footage, or the epic splendour of 70mm. In this modern digital age, just seeing a film on 35mm celluloid is enough of a treat for plenty of film fans, and the fact that some screenings of Carol have been on this antiquated stock has been enough to get many excited. Resistant as I’ve been to this level of film stock fetishisation, the cinematography of Ed Lachman (who used 16mm cameras when shooting) does come across particularly nicely, and there is a sort of cultish mystique to seeing Carol projected on film stock, though it still works fine on digital too. No, scratch that, it works great, because I’ve seen the film three times already in the last week, and I continue to want to go and see it. I love Carol, certainly more than any other film this year, possibly more than any film this decade.

As for explaining why, it’s not just the film, and it’s not just the period clothes and settings — although those are, it has to be said, fantastic. There’s seldom been so powerful an advertisement for the joys of sipping gin martinis in plush hotel bars, or lighting up a cigarette, for that matter. That grainy film stock really gives a tactility to this evoked world, just as it seems to make it impossibly distant. Director Todd Haynes emphasises this by frequently shooting his actors through glass, often fogged up or dirty, using reflections which fade away into darkness or into the film grain. Carol, more than anything else perhaps, is a seance with something unattainable — whether the texture of the historical past, or the ineffability of rendering something so fragile as love on screen. But in acknowledging this distance, it also heightens the emotion of evoking it.

Still, all this would be for nothing without the performances. Rooney Mara as Therese Belivet does her best to hold herself in check despite a sort of giddiness to her youthful acceptance of the world at times, and you can see those emotions fighting within her, especially evident in that opening scene which the movie at length loops back to. Cate Blanchett as Carol Aird, though, is acting in almost a different world, yet her connection to Therese remains palpable, other characters seeming to fade away in their exchange of glances. Blanchett modulates her voice, giving an almost neutral flatness to some of her line readings, though it’s in her eyes and the curl of her lips that the real heavy lifting is done. And then there’s Sarah Paulson as Carol’s best friend Abby, who surely remains the best supporting actor around. Abby’s exchange with Carol somewhere in the middle of the film — “Tell me you know what you’re doing.” “I don’t. I never have.” — pretty much destroys me every time and feels like the film’s emotional core (that and Carol’s “living against my grain” in the custody hearing).

I’m unequal to telling you all the ways I love this film. I haven’t even really conveyed the story, but it’s fairly straightforward in some ways (two people fall in love). Still, there are moments here that are as rich in magic as any other film I know (although I’ve already seen a number of critics resisting the film’s charms, so I can’t claim these effects are universal). Still, it works for me, and perhaps yes there is a level of fetishisation to it. Maybe I’ll go see it again tonight, or tomorrow, while I can, before it disappears forever, lingering only in distant, impossible memories.

Carol film posterCREDITS
Director Todd Haynes; Writer Phyllis Nagy (based on the novel The Price of Salt by Patricia Highsmith); Cinematographer Edward Lachman; Starring Cate Blanchett, Rooney Mara, Sarah Paulson, Kyle Chandler, Jake Lacy; Length 118 minutes.
Seen at Picturehouse Central [35mm], London, Monday 30 November 2015; Hackney Picturehouse, London, Tuesday 1 December 2015; and Cineworld West India Quay, London, Tuesday 8 December 2015 (so far).

The Wolf of Wall Street (2013)

The cinema of Martin Scorsese quite often deals with self-regarding, testosterone-fuelled men. It’s a place to learn about the contemporary construction of masculinity more than anything else, and this is his latest chapter in that ongoing exploration, placing itself in the milieu of high finance — specifically a “boiler room” stockbroking firm from the late-1980s through the 1990s. This is the domain of self-made man — wise guy, almost — Jordan Belfort, played at full throttle by the still youthful-faced Leonardo DiCaprio, though he at least has the decency to look a little worn by the end. It’s been written up largely as a film of swearing, drugtaking and hedonism, but really it’s another periodic health check for the struggling ideal of the American Dream. It doesn’t preach or moralise, but the message is pretty relentlessly, propulsively, loudly clear for its three hours.

I made the error of looking at the recent 12 Years a Slave somewhat as a film trying to teach us about the evils of slavery — a lesson hardly needed, and certainly not at the heart of the film’s purpose. Likewise, you can’t really wonder if the The Wolf of Wall Street is trying to get across the idea that financial corruption is bad, or if the people involved are morally questionable. There is literally not a single character in the film that has any claim to our sympathies — the closest we get is the FBI agent Patrick (Kyle Chandler), but even he is given to pettiness, and hardly seems enthused by his life. I’d say there’s no one who is likeable, but most of them are likeable enough on their own level, which for most of them is a fairly amoral level. There’s pathos too (or perhaps I mean to say, most are pretty pathetic), but for the majority of the running time you can keep these guys at an arms’ length: they are not like us. They are embodiments of the primal, rampaging id, who have freed themselves from quotidian concerns through their relentless acquisition of wealth. It’s not until near the end, after nearly three hours of their childish petulance, that you get a sense for where it’s all headed — encapsulated by a underplayed final scene (introduced by the real Belfort) which brings Jordan back into something recognisably like our world.

Up to that point, though, things are blackly comic — madcap and slapstick at points — as Belfort struggles to build his wealth after the Wall Street firm where he begins his career goes bust in the 1987 crash. He restarts by trading penny stocks to working-class guys from a dowdy office in New Jersey, moving on to creating and enlarging his own firm with the help of his low-life friends, chief among them the garrulous Donnie (Jonah Hill in horn-rimmed specs and shell suits) and Nicky (P.J. Byrne), called “Rugrat” because of his glaring toupee. He marries a model blonde wife, Naomi (Margot Robbie) and lives a hard-partying lifestyle. The movie can indeed be charted largely by Jordan & co’s ingestion of narcotic substances, starting with a hit of a crack pipe with Donnie near the New Jersey office, before progressing primarily to cocaine (taken in various locations and, er, from various orifices) and Quaaludes. Most of the film is structured around Jordan getting loaded (making money, taking drugs), before the final act charts his rocky comedown — crashing not just from drugs and booze, but financially, maritally and even nautically.

It’s a classic story, and Scorsese really attacks it stylistically with all the tricks learnt from his many decades’ worth of filmmaking. It feels like the kind of free-wheeling spirit of Casino (1995), certainly in the glitziness of the enterprise, which matches that of the characters (or at least, their entitled sense of self-worth). DiCaprio gives a narration from Jordan’s point of view, even addressing himself directly to camera in a few scenes, as he explains his criminal enterprise with scarcely-concealed glee. There are freeze-frames and jump-cuts too, but this isn’t the vacuous-style-for-its-own-sake brand of filmmaking that you get from Scorsese’s latter-day imitators (to take one recent example amongst many, in Pain & Gain), but it adds to the deadening affect of this flamboyant world. Scorsese also reminds us that he is deft at comedy, whether it be the earnest discussions of humiliating excess (the dwarf-throwing that opens the film), or a marvellous sequence when DiCaprio needs to return home but finds himself floored by extra-strength Quaaludes — a scenario which might be done with all the hallucinogenic trippiness of Fear and Loathing in Las Vegas, but which Scorsese films from a fixed vantage point with no gimmicks or trickery, just documenting the physicality of DiCaprio’s performance, and which is all the funnier for it.

As a whole, the film feels a bit like this, like being the sober one at an increasingly riotous party, with people who are fun to be around initially, but whose drunken antics soon become quite draining. There’s no overt judgementalism about the narcotic excess (there are in fact many open proclamations of how enjoyable it is), but then there doesn’t need to be: this film hardly glorifies drug use, given it chooses avatars who are so existentially loathsome. If there’s a more potent criticism it would be that this remains very much a film about boys; there are women, but they are largely seen through the eyes of the (as I hope I’ve made clear, hardly upstanding) male protagonists, and therefore mostly sexualised and ultimately humiliated, although the warping power of money seems to blind everyone in the film to it. But despite this, it still feels fairly effortless as a film, while managing to give a real — and disturbing — sense of malaise, which, as we see in the final scene, is only just out of our reach and beyond our control.

The Wolf of Wall Street film posterCREDITS
Director Martin Scorsese; Writer Terence Winter (based on the memoir by Jordan Belfort); Cinematographer Rodrigo Prieto; Starring Leonardo DiCaprio, Jonah Hill, Margot Robbie, Kyle Chandler, P.J. Byrne; Length 179 minutes.
Seen at Genesis, London, Monday 27 January 2014.