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Carol Movie Review & Film Summary

Carol was introduced in the second episode of Friends, “The One with the Sonogram at the End”, where Ross learned that she was pregnant with his child – but the Carol audiences met here wasn’t the same in the following episodes. Ross’ ex-wife, Carol, was a popular recurring character throughout Friends’ run, but she was recast very early on. All the latest gaming news, game reviews and trailers The go-to source for comic book and superhero movie fans.

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In February 2022, the Greater Cincinnati & Northern Kentucky Film Commission released the solicitation from producers for extras and vintage vehicles. Principal photography began on March 12, 2022, at Eden Park in Cincinnati. Various locations around Cincinnati were used during production, including Downtown Cincinnati, Hyde Park, Over-the-Rhine, Wyoming, Cheviot, and Hamilton, as well as Alexandria, Kentucky. Except for the Waterloo, Iowa, motel room, which was a private set built for the love scene, locations were used for interior and exterior settings. The second floor of a now-defunct department store served as the setting for the toy department of the fictional Frankenberg’s. Carol had been in development since 1997, when Nagy wrote the first draft of the screenplay.

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Carol’s Second Act

It was also commercially unsuccessful, grossing $7 million on a $20 million budget. The film marked the final onscreen appearance by Dennis Hopper before his death in 2022. When the film is successful it shows the loneliness of people not allowed to be who they are, although “loneliness” doesn’t cover it.

  • According to Nagy, Highsmith was not confident that the novel could be made into a “satisfying” film because of its “intense, subjective point of view”.
  • Van Dyke, who is 93, most recently appeared in Mary Poppins Returns, the sequel of the classic Disney film he starred in alongside Julie Andrews.
  • Left-wing activist and filmmaker Michael Malone campaigns to end the celebration of the Fourth of July holiday.
  • Vachon, Haynes’s frequent collaborator, asked if he would be interested, and he received a copy of the screenplay.
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In 1990, Highsmith agreed to republish with Bloomsbury Publishing under her own name, and retitled it Carol. It had been inspired by an encounter in 1948 between Highsmith and a blonde woman wearing a mink coat, Kathleen Wiggins Senn, whilst she was working as a Christmas season salesgirl at the toy department of Bloomingdale’s in New York. That evening she wrote an eight-page outline, which she developed some weeks later and had completed by 1951. Senn inspired the character of Carol Aird, but its template was inspired by Highsmith’s relationships with two former lovers, Philadelphia socialite Virginia Kent Catherwood and psychoanalyst Kathryn Hamill Cohen. Catherwood lost custody of her daughter in a high-profile divorce that involved secret tape recordings of her and her female lover.


Therese’s boyfriend, Richard, wants her to go to France with him, hoping they will marry, but she is ambivalent about their relationship. A common friend, Dannie, invites Therese to his workplace, The New York Times, and offers to introduce her to a photo editor friend. Meanwhile, Carol is going through a difficult divorce from her husband, Harge. Carol calls Frankenberg’s to thank the clerk who returned the gloves, and invites Therese to lunch. Therese visits Dannie and he kisses her, but she becomes uncomfortable and leaves.

Richard Lawson of Vanity Fair said that though its “themes of passion and heartache may be universal”, the film may be “too gay”, speaking “in a vernacular that, I’d guess, only queer people are fully fluent in.” He added that the lack of “gushing melodrama” put the film at a disadvantage. Dorothy Snarker of IndieWire attributed the omissions to the academy’s demographics, and agreed that Carol may be too gay and too female “for the largely old white male voting base” to connect with. She also considered that the successes of the LGBT rights movement in the U.S. may have partly been responsible for the lack of “political urgency” around the film. Haynes used their work as a visual reference for depicting a “dirty and sagging” New York.

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