Join us for a special double-feature event with screenings of Carol and Lovers and Lollipops, plus an extended conversation with Todd Haynes.
Todd Haynes, USA, 2015, DCP, 118m
Haynes’s adaptation of Patricia Highsmith’s early novel stars Cate Blanchett as the titular Carol, a wealthy suburban wife and mother, and Rooney Mara as an aspiring photographer. They meet by chance, fall in love almost at first sight, and defy the closet of the early 1950s to be together. Working with his longtime cinematographer Ed Lachman and shooting on the Super-16 film he favors for its echoes of the movie history of 20th-century America, Haynes charts subtle shifts of power and desire in images that are alternately luminous and oppressive. Blanchett and Mara are both splendid; the erotic connection between their characters is palpable from beginning to end, as much in its repression as in eagerly claimed moments of expressive freedom. Originally published under a pseudonym, Carol is Highsmith’s most affirmative work; Haynes has more than done justice to the multilayered emotions evoked by the original. A Weinstein Company release. An NYFF53 selection.
LOVERS AND LOLLIPOPS
Morris Engel & Ruth Orkin, USA, 1955, 35mm, 82m
Morris Engel and Ruth Orkin followed up their paradigm-shifting debut feature Little Fugitive with another film about a young child discovering and challenging the habits of adults. As was true for the directors’ earlier film, the plot of Lovers and Lollipops—a 7-year-old girl goes to escalating lengths to disrupt her widowed mother’s burgeoning romance with a sympathetic old friend—registers less than its constant stream of precisely observed, improbably sustained moments: a visit to the Museum of Modern Art; a bedtime reading that escalates into a mini-confrontation; a trip to the Bronx Zoo. An underappreciated landmark of American independent filmmaking, Lovers and Lollipops is a fleet-footed, stylish document of an older New York, and a crucial period reference for Haynes’s sumptuous new film,Carol.
Mary Engel and Todd Haynes – Photo by Julie Cunnagh