Decoding the Symbolic Glass Windows in 'Carol'

Carol2015

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Undoubtedly, "Carol" possesses outstanding visual delicacy, and each frame could be a refined magazine photograph. The cinematography style is restrained and calm, which is highly artistic.  In contrast, the plot is often regarded as lacking the big picture, focusing solely on the love story without delving deeper into social critique.

However, I believe that the scope of "Carol" is not small. The critique of politics and society just not appeared directly in the film.

The ambition of "Carol" for a broader perspective is precisely reflected in some details of its cinematography: the seemingly empty and exquisite sets captured by the camera may contain rich symbolism, expanding the film's meaning beyond the script's narrative. The aesthetic form and content of the film cannot be distinctly separated from each other, which is the unique charm that sets films apart from literature. For example, there is an interesting visual perspective in "Carol": the camera often looks through glass windows at obscured figures or city streets.

Then, how could we interpret these glass windows that frequently separate the line of sight?

The predicament of women

As we know, "Carol" did not have radical political declarations or passionate struggles; it simply told a love story between two females. However, many subtle details in the film subtly hint at the lack of freedom experienced by American women in the 1950s.

When Therese, played by Rooney Mara, first meets Carol, played by Cate Blanchett, she teasingly remarks, "I'd love to show you my favorite model trains, but for now, I'm trapped behind this doll counter."

When Carol had to have meals with her in-laws' family to see her daughter, she continually justified seeing a psychotherapist instead of a doctor, as if indirectly asserting that her homosexuality was not an illness. The ironic detail was that on the television beside the dining table, a celebrity passionately delivered a speech about the future of the "freedom" possessed by the United States.

American women in the 1950s already had the right to vote, but the second wave of feminism, dedicated to liberating middle-class women from housework, had not yet swept across America. It was not until the 1980s that the rights of lesbians were included in feminist discussions. These women, who had the right to vote in the eyes of the law and seemed to live in a free and equal society, were not free like Carol, Especially when the law labeled her homosexuality as a moral issue and stripped her of the right to see her daughter.

Therefore, when Therese sat in the back seat of a male friend's car, looking out at the foggy glass window towards the streets of New York at night, or when she stood in Carol's house and saw Carol entangled in an argument with her husband through the window— the senses carried profound meaning.

Superficially, the free urban space she gazed upon, or the person she silently loved, seemed within her reach. But if she reaches out her hand, she can only touch the cold glass of the window.

After separating from Therese, Carol experienced these kinds of illusions and predicaments: she sat in the back seat of a car, looking through the glass window, and saw Therese walking on the street outside in a red dress. Her desire was within arm's reach, but she could not attain it. All she could do was sit quietly and continue on her way to the hearing which would determine her fate.

From this perspective, the glass windows may symbolize an illusion of freedom and hypocritical confinement. In other words, 1950s America gave women an empty promise, and they remained under the constraints of societal judgments. The frequent appearance of glass window imagery in "Carol" serves as a politically charged critique, albeit in an artistic manner.

The Loneliness of Urban Life

However, the interpretation of glass windows in "Carol" goes beyond the realm of feminist political criticism. In my opinion, it also invites a critical reflection on urban life.

There are two similar scenes in the film, occurring after Carol's two failed negotiations with the legal system regarding custody of her daughter. In the pictures, Carol stood or sat alone behind a large glass window, with the fleeting figures of pedestrians on the street reflected on the glass.

The captured imagery creates an illusion that she was surrounded by many people who are the shadows of pedestrians outside. It represents one of the most common emotions in urban life—loneliness.

Regardless of all the specific interpretations, they are not limited to the so-called love between the two females. The details reflect certain social emotions: the loneliness of urban dwellers and their yearning for kindred spirits that have been discussed countless times in film history. But "Carol" stands out by its subtle treatment of visual aesthetics. It refrains from didactic preaching and drama scenes; instead, loneliness and love are presented through exquisite cinematography and the visual motif of glass windows, allowing the audience to feel for themselves.

The Art of the Film

Perhaps what the glass windows in "Carol" symbolize is ultimately unimportant for most. What matters is a unique beauty that evokes a sense of melancholy because of the skillful use of light and shadows through these glass windows.

Todd Haynes is a cinephile, who is deeply enamored by the light and shadows of the art of film. "Carol" is his tribute to Douglas Sirk, the master of popular Hollywood comedies in the 1950s.

As we know, the most famous of Sirk's films is his strongly contrasting color schemes. "Carol" also features bold tones: from the red and yellow plaid hat often worn by Rooney Mara to the gorgeous orange scarf accentuating Cate Blanchett's attire, they become eye-catching scenery in the winter of New York.

In addition to Sirk, the road trip of the two female protagonists in "Carol" is also a tribute to the famous feminist film "Thelma & Louise." However, it did not aim to dismantle patriarchy. When Carol raised the gun at the private detective who had been spying on her in anger, the gun turned out to be empty. Clearly, through Todd Haynes' lens, Carol and Therese had not become advocates for women's rights. However, through his unique aesthetic, Haynes tells their most beautiful emotions and their silent resistance.

Whether it is feminist criticism or a nuanced portrayal of urban life, "Carol" is primarily concerned with the intimate emotions between individuals, not political correctness or inspirational stories. The film always focuses on the hidden emotions between people, which is why many people perceive "Carol" as being confined to love. However, I appreciate Todd Haynes' perspective because, within the vast social machinery, only human emotions are eternal variables that cannot be defined. No matter how grand the political struggles and social critiques are, they originate from individuals who bravely break taboos by refusing to abandon their emotions.

At the end of the film, Therese finally approached Carol in the crowd of a banquet. This time, there is no longer a barrier of glass windows in Therese's gaze. She confidently walked towards Carol, and we saw Carol's smile.