In 1950s New York, a department-store clerk who dreams of a better life falls for an older, married woman.

Credits: TheMovieDb.

Film Cast:

• Therese Belivet: Rooney Mara
• Carol Aird: Cate Blanchett
• Harge Aird: Kyle Chandler
• Abby Gerhard: Sarah Paulson
• Richard Semco: Jake Lacy
• Dannie McElroy: John Magaro
• Tommy Tucker: Cory Michael Smith
• Genevieve Cantrell: Carrie Brownstein
• Fred Haymes: Kevin Crowley
• Phil McElroy: Nik Pajic
• Jack Taft: Trent Rowland
• Rindy Aird: Sadie Heim
• Rindy Aird: Kk Heim
• Jennifer Aird: Amy Warner
• John Aird: Michael Haney
• Jeanette Harrison: Wendy Lardin
• Roberta Walls: Pamela Evans Haynes
• Jerry Rix: Greg Violand
• McKinley Motel Manager: Kay Geiger
• Landlady: Christine Dye
• Motel Clerk: Deb G. Girdler
• Male Party Guest: Douglas Scott Sorenson
• Ritz Bartender: Ken Strunk
• Frankenberg Security Guard: Mike Dennis
• Florence: Ann Reskin
• Embarassed Mom: Annie Kalahurka
• Drake Hostess: Linnea Bond
• New York Times Clerk: Steven Andrews
• Fred Haymes’s Secretary: Tanya Smith
• NYC Waiter: Ryan Wesley Gilreath
• Oak Room Waiter: Chuck Gillespie
• Dorothy: Jeremy Parker
• Party Girl #1: Giedre Bond
• Frankenberg Employee: Liberty Fraysure
• Oak Room Patron / Pedestrian (uncredited): Robert J. Ashe
• Oak Room Patron (uncredited): Anita Farmer Bergman
• Ted Grey (uncredited): Colin Botts
• McKinley Motel Patron’s Daughter (uncredited): Chelsea Carnder
• Restaurant / Pedestrian (uncredited): Gary Chinn
• Frankenberg High End Shopper (uncredited): William Cross
• News Stand Operator / Recuring Pedestrian (uncredited): Richard Doone
• Party Girl #2: Taylor Marie Frey
• Shipping Clerk: Michael Joseph Thomas Ward

Film Crew:

• Producer: Tessa Ross
• Original Music Composer: Carter Burwell
• Executive Producer: Bob Weinstein
• Executive Producer: Harvey Weinstein
• Executive Producer: Cate Blanchett
• Producer: Christine Vachon
• Production Design: Judy Becker
• Set Decoration: Heather Loeffler
• Director of Photography: Edward Lachman
• Producer: Stephen Woolley
• Costume Design: Sandy Powell
• Novel: Patricia Highsmith
• Casting: Laura Rosenthal
• ADR Editor: Tony Martinez
• Art Direction: Jesse Rosenthal
• Director: Todd Haynes
• Music Editor: Todd Kasow
• Sound Re-Recording Mixer: Leslie Shatz
• Music Supervisor: Randall Poster
• Editor: Affonso Gonçalves
• Executive Producer: Andrew Upton
• Dialect Coach: Carla Meyer
• Producer: Elizabeth Karlsen
• Executive Producer: Dorothy Berwin
• Camera Operator: Craig Haagensen
• Screenplay: Phyllis Nagy
• Line Producer: Gwen Bialic
• Makeup Artist: Jeni Lee Dinkel
• Camera Operator: Jeff Barklage
• First Assistant Camera: Alex Esber
• Property Master: Daniel Fisher
• Costume Supervisor: David Davenport
• Makeup Artist: Morag Ross
• Property Master: Joel Weaver
• Post Production Supervisor: Gretchen McGowan
• Makeup Department Head: Patricia Regan
• Supervising Sound Effects Editor: James David Redding III
• Makeup Artist: Anne Taylor
• Visual Effects Producer: Allison Paul
• Visual Effects Supervisor: Edson Williams
• Executive Producer: Danny Perkins
• Hair Department Head: Jerry DeCarlo
• Steadicam Operator: Kirk R. Gardner
• Key Hair Stylist: John Jack Curtin
• Construction Coordinator: Paul Peabody
• Still Photographer: Wilson Webb
• Dialect Coach: Kate Wilson
• Dolly Grip: Chris Salamone
• Supervising Dialogue Editor: Eliza Paley
• Executive Producer: Thorsten Schumacher
• Gaffer: John W. DeBlau
• Script Supervisor: Belle Francisco
• Sound Mixer: Geoff Maxwell
• First Assistant Camera: Tom Cherry
• First Assistant Camera: Amy Faust
• Visual Effects Producer: Chris Haney
• Set Costumer: Gina Nalli
• Key Grip: James McMillan
• Seamstress: Megan McGilvery
• Steadicam Operator: Adam N. White
• Best Boy Electric: Russ Faust
• Construction Foreman: Francis Link Boysie
• Rigging Gaffer: Scott Lipez
• Rigging Grip: Lucas Staley
• Foley Editor: Lidia Tamplenizza
• Location Manager: Alan Forbes
• Set Dresser: Amy Cluxton
• First Assistant Director: Jesse Nye
• Set Dresser: Leyna Haller
• Greensman: Eric Johns
• Prop Maker: Luke Nye
• Leadman: Bob Smith
• Leadman: Christopher Walters
• Boom Operator: Nigel Maxwell
• Special Effects Coordinator: Kenneth Coulman
• Special Effects Coordinator: Kelly Laufenberg
• Rigging Grip: Mike Dickman
• Rigging Grip: Jeff Fisher
• Rigging Grip: Thomas William Vincent
• Rigging Grip: John Zanardelli
• Tailor: Susan Bakula
• Seamstress: Christine Lee
• Costume Coordinator: Jenn McLaren
• Key Costumer: Martha Smith
• Location Manager: Deirdre Costa
• Title Designer: Marlene McCarty
• Production Coordinator: Meredith Nunnikhoven
• Visual Effects: Erik Werlin
• Set Dresser: Jon Griffith
• Set Costumer: Karen Young

Movie Reviews:

• Reno: > Just when it can’t get any better…

  The first thing I noticed was after seeing the movie is there’s some kind of mistake in the Oscars nominee. Rooney Mara should have been on the lead role list, while Cate Blanchett in the supporting character’s. Maybe the Academy people misunderstood that the title role must be the lead character. Theirs switched place actually does not make any sense. Anyway the Oscars never made sense at all.

  This story was okay, but adapted screenplay and direction, especially the music was excellent. For the ending scene alone, you will be tempted to raise your rating than what you initially thought it deserves. I was not expecting the movie to be awesome, so I’m not upset for the overall movie.

  Believe me, the last thing I want in this movie is to see Cate Blanchett in naked. Maybe out of respect or her age or she’s not attracted to me, there are plenty of reasons that I can’t figure it out which one, but after knowing what this theme is, I was only praying for that not to happen. And obviously that is unavoidable, otherwise the movie will lose its soul and strength.

  Well, it was better than I thought, both the actresses were good, but Rooney Mara dominated. Whatever category she’s in for the Oscars, I’ll be happy if she wins. It is not a must watch, but a decent movie and betters in some parts.

  7/10

• mattwilde123: ‘Carol’ is beautifully shot and very maturely made. The acting was very class all around the film. The whole thing seemed like it was taken from the 40s. I loved how fine it all looked and felt and it deserved a lot more awards than it got.

  ★★★★