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<time class="date" datetime="January 14, 2016">January 14, 2016 4:00 pm</time> </div> <div class="sharing-area add-class"> <ul> <li><a href="#" onclick="return soc('fb')" class="facebook"><span class="icon-facebook"> </span>Share</a></li> <li><a href="#" onclick="return soc('tw')" class="twitter"><span class="icon-twitter"> </span>Tweet</a></li>    </ul> <div class="popup popup-share"> <div class="popup-holder"> <div class="popup-header"> <a href="#" class="close"><span class="icon-close"> </span></a> <strong class="popup-logo"><a href="/web/20160208233019/http://flavorwire.com/"><img src="https://web.archive.org/web/20160208233019im_/https://s0.wp.com/wp-content/themes/vip/flavorwire-2015/images/logo.svg" alt="flavorwire"></a></strong> </div> <div class="popup-body share-popup"> <h1>How ‘Carol’ Got Screwed</h1> <ul class="social-networks"> <li><a href="#" onclick="return soc('fb')" class="facebook"><span class="icon-facebook2"></span></a></li> <li><a href="#" onclick="return soc('tw')" class="twitter"><span class="icon-twitter"></span></a></li> <li><a href="#" onclick="return soc('tu')" class="tumblr"><span class="icon-tumblr"></span></a></li> <li><a href="#" onclick="return soc('pi')" class="pinterest"><span class="icon-pinterest"></span></a></li>  <li><a href="#" onclick="return soc('re')" class="reddit"><span class="icon-reddit"></span></a></li>  </ul> </div> </div> </div> </div> <img width="728" height="489" src="https://web.archive.org/web/20160208233019im_/https://flavorwire.files.wordpress.com/2016/01/carol12.png?w=728&h=489&crop=1" class="attachment-article-post-thumb size-article-post-thumb wp-post-image" alt="Cate Blanchett in "Carol""/> <span class="photo-by"></span> <div class="slider-controls"> </div> </header>  <div class="entry-content post-frame"> <p>There’s one every year. Correction: there are <em>plenty</em> of movies every year whose absence at the announcement of the <a href="https://web.archive.org/web/20160208233019/http://flavorwire.com/555826/the-2016-oscar-nominations-are-here" target="_blank">Academy Award nominations</a> cause <a href="https://web.archive.org/web/20160208233019/http://flavorwire.com/555955/lets-talk-about-those-baffling-oscar-nominations" target="_blank">head-scratching, teeth-gnashing, and similar displays of displeasure</a>, but every year there’s <em>one </em>whose snub (and I don’t use the word lightly) seems particularly egregious, and worthy of exploration. Last year it was <em>Selma</em>; this year, it’s <em>Carol</em>, Todd Haynes’ magnificent adaptation of Patricia Highsmith’s <em>The Price of Salt</em>.<span id="more-556038"></span></p> <p>Like <em>Selma</em>, <em>Carol </em>is a film whose Oscar triumph seemed like a no-brainer: period drama, accordant knockout costumes and production design, gorgeous cinematography, themes of oppression and forbidden love, crackerjack roles for its performers. And it netted nominations in some of those categories – Best Actress, Best Supporting Actress, Best Adapted Screenplay, Best Cinematography, Best Costumes, and Best Score. But Todd Haynes was not among the five nominees for Best Director, and <em>Carol</em> was not among the eight films (and they <em>could’ve</em> nominated up to ten!) nominated for Best Picture. So, what happened? Some theories:</p> <p><strong>1. It was a gay love story.</strong></p> <p>It’s the easiest, knee-jerk reaction – but, y’know, sometimes the simplest explanation is the right one, and Occam’s razor and all that. Unsurprisingly, considering their preference for stories about straight white people, Oscar doesn’t have a sterling track record nominating, and awarding, films about gay people for Best Picture. Sure, there was <em>Brokeback Mountain</em> back in 2005 – but that frontrunner fell to surprise winner <em>Crash</em> on Oscar night, a result at least partially attributable to homophobia, since at least two high-profile voters (<a href="https://web.archive.org/web/20160208233019/http://www.contactmusic.com/tony-curtis/news/curtis-berates-brokeback-mountain_05_02_2006">Tony Curtis</a> and <a href="https://web.archive.org/web/20160208233019/http://www.advocate.com/news/daily-news/2010/08/20/sag-honor-brokeback-basher-borgnine" target="_blank">Ernest Borgnine</a>) publicly announced their “gay cowboys, gross” opposition to it.</p> <p><em>Capote</em> was up for Best Picture (and won Best Actor) that same year, but before that, it’s pretty slim pickings; most Best Pictures that even included gay themes (like <em>The Hours</em>) put them firmly in the realm of subplots. What happens most frequently with LGBT narratives is what happened this morning with <em>Carol</em>: nominations for the actors – particularly if it’s a straight actor<em> bravely</em> playing gay – but not for the film. The examples are plentiful:<em> Sunday Bloody Sunday, Philadelphia, Transamerica, Gods and Monsters, A Single Man</em>, <em>Before Night Falls</em>, <em>Boys Don’t Cry</em>, <em>Silkwood</em>, <em>Beginners, Longtime Companion</em>, etc. etc.</p> <p><a href="https://web.archive.org/web/20160208233019/https://flavorwire.files.wordpress.com/2016/01/carol3.jpg" rel="attachment wp-att-556042"><img class="aligncenter size-full wp-image-556042" src="https://web.archive.org/web/20160208233019im_/https://flavorwire.files.wordpress.com/2016/01/carol3.jpg?w=728&h=479" alt="Cate Blanchett in "Carol"" width="728" height="479"/></a></p> <p>In the years since <em>Brokeback</em>, we’ve seen Best Picture nominations for <em>The Kids Are All Right</em> and <em>Dallas Buyers Club</em> – though in both of those cases, the primary audience surrogate was arguably a straight man (Mark Ruffalo in <em>Kids</em>, Matthew McConaughey in <em>Dallas</em>) – and the slightly Sapphic <em>Black Swan</em>. And, of course, there were <em>Milk </em>and <em>The Imitation Game</em>, both stories about gay men who met with tragedy, which brings us to the next possibility.</p> <p><strong> 2. It was a sp<em>ecific kind </em>of gay love story.</strong></p> <p>Spoiler alert: <em>Carol</em>’s protagonists fall in love, consummate their passion, and encounter some difficulties – it’s the early ‘50s, after all – but do not die for/from being gay. Such a declaration sounds stark, but an astonishing number of films about gay life have seen their characters come to some sort of a tragic end, as if comporting to the old Hays Code, where characters must be “punished” for their “sins.” (Go read <em>The Celluloid Closet</em>; I’ll wait.) Ultimately, <em>Carol</em>’s most transgressive quality is its <a href="https://web.archive.org/web/20160208233019/http://flavorwire.com/548483/the-brilliant-subversiveness-of-carols-conventional-ending" target="_blank">refusal to engage</a> in such shenanigans; this is a film about full-blooded gay lives, not tragic gay deaths. Maybe Oscar voters weren’t sure how to deal with that?</p> <p><a href="https://web.archive.org/web/20160208233019/https://flavorwire.files.wordpress.com/2016/01/carol2.jpg" rel="attachment wp-att-556046"><img class="aligncenter size-full wp-image-556046" src="https://web.archive.org/web/20160208233019im_/https://flavorwire.files.wordpress.com/2016/01/carol2.jpg?w=728&h=461" alt="Rooney Mara and Cate Blanchett in "Carol"" width="728" height="461"/></a></p> <p><strong>3. It was “too cold.”</strong></p> <p><a href="https://web.archive.org/web/20160208233019/http://www.vanityfair.com/hollywood/2016/01/carol-shut-out-best-picture-best-director" target="_blank">Over at <em>Vanity Fair</em></a>, Richard Lawson posits: “Maybe it’s that, yep, <em>Carol</em> is too gay. The film chronicles the beginnings and early stumbles of a lesbian relationship in repressed 1950s New York, and though its broader themes of passion and heartache may be universal, this is a film written by a gay woman (based on a book by a gay woman), directed by a gay man, that speaks in a vernacular that, I’d guess, only queer people are fully fluent in. Perhaps that was just too narrow, too restricting, too limited in scope for the Academy.”</p> <p>But that’s letting straight people off the hook. One of the most striking thing about <em>Carol</em> is, outside of its specific period and cultural trappings, how exquisitely it captures the first flush of infatuation and attraction, and the deepening of that feeling into genuine love. That’s a feeling any viewer can understand, and one put across by Phyllis Nagy’s script, Haynes’ direction, and Blanchett and Mara’s playing – done not only with skill, but with less understatement than the popular narrative would have it. Watch the way those two look at each other when the other’s not watching in that department store scene and the lunch that follows, the hunger with which they’re stealing glances, the electricity of that attraction.</p> <p>That’s why the other popular explanation for <em>Carol</em>’s lack of connection to award bodies, its supposed “coldness” or “remove,” smells so bad. Is that just a nice way of saying, “Not enough hot girl-on-girl action”? Or maybe that claim of “coldness” is tied to the picture’s overall subtlety, and how it mostly avoids giant, blowout confrontations and soft-piano-accompanied confessions of one’s True Feelings for a story told in quiet conversations and the pauses between them. Which is to say….</p> <p><strong> 4. It was too good.</strong></p> <p>The thing we must always bear in mind, when discussing the slights and oversights of our ol’ pal Oscar, is that he often just doesn’t know what the fuck he’s talking about. Perhaps the closest mirror to <em>Carol</em> in modern popular moviemaking, as far as this particular mile of its journey into cinematic immortality goes, is <em><a href="https://web.archive.org/web/20160208233019/http://flavorwire.com/417238/the-coen-brothers-and-john-goodman-on-their-cold-gray-mini-masterpiece-inside-llewyn-davis" target="_blank">Inside Llewyn Davis</a></em> – another deeply felt yet surface-subtle, gray-of-winter period drama that was <a href="https://web.archive.org/web/20160208233019/http://flavorwire.com/433950/thank-you-academy-haters-why-snubbing-inside-llewyn-davis-proves-just-how-brilliant-it-is" target="_blank">shut out of the major categories</a> two years back. And guess what? It didn’t hurt that movie one little bit. It’s got a Criterion edition out next week, it launched one of our most successful new stars, and it stands as one of the most beloved of all recent movies. The Coens actually made a movie <em>better</em> than Oscar, better than the easy platitudes and push-button feel-THIS nonsense that voters went for that year, and most years; <em>Carol</em> did the same. It doesn’t subject us to 156 minutes of people howling in misery and wolfing down raw liver bison; it gives us 118 minutes of people longing to belong and (as <a href="https://web.archive.org/web/20160208233019/https://twitter.com/MarkHarrisNYC/status/686975940631597058" target="_blank">a wiser soul than I</a> notes) casually consuming creamed spinach, poached eggs, and a martini. <em>Carol</em> will be around forever. You’ll forget most of the movies that “beat” it this morning by the day after the Oscars. Maybe sooner.</p> <div class="tags-line"><strong class="heading">Tags:</strong><span class="tags"><a href="https://web.archive.org/web/20160208233019/http://flavorwire.com/tag/awards-season-2016" rel="tag">Awards Season 2016</a>, <a href="https://web.archive.org/web/20160208233019/http://flavorwire.com/tag/brokeback-mountain" rel="tag">Brokeback Mountain</a>, <a href="https://web.archive.org/web/20160208233019/http://flavorwire.com/tag/carol" rel="tag">Carol</a>, <a href="https://web.archive.org/web/20160208233019/http://flavorwire.com/tag/inside-llewyn-davis" rel="tag">Inside Llewyn Davis</a>, <a href="https://web.archive.org/web/20160208233019/http://flavorwire.com/tag/newsletter" rel="tag">newsletter</a>, <a href="https://web.archive.org/web/20160208233019/http://flavorwire.com/tag/oscars-2016" rel="tag">Oscars 2016</a>, <a href="https://web.archive.org/web/20160208233019/http://flavorwire.com/tag/rooney-mara" rel="tag">Rooney Mara</a>, <a 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