The narrative structure in the movie Carol is distinct due to the focus on intricate elements of storytelling. The main reason for deviation from the traditional forms of the narrative approach is rooted in the fact that Carol provides a multitude of perspectives. The film does not solely revolve around Carol or Therese but rather smoothly transitions from one subplot to another. Both perspectives naturally merge into one cohesive and compelling story rich in information, emotion, and story elements.
Firstly, it is important to note that the given film’s setting takes place in the 1950s, when the world was significantly more conservative and restrictive, especially in regard to the members of the LGBTQ+ community. However, “it’s the way the decidedly modern sensibility of the narrative meets classic style that is the point” (Turan par. 4). In other words, the modern approach of utilizing several viewpoints on the story combined with classical stylistics makes the narrative structure unique and intricate. The film is shot in such a way that viewers regularly become mere observers of the characters, who convey their emotional states not through words but rather through facial expressions, settings, postures, and musical backgrounds. Another review states that viewers watch “the characters through the windows of a car or house and left them in a hazy focus” (Raynes par. 8). At various points in the film, viewers can observe the protagonists sitting or standing behind windows, resembling the realistic experience since it is usually how people see strangers rather than being part of private conversations.
Secondly, the narrative structure differentiates itself from the traditional techniques due to attentive and up-close gamesmanship. A film reviewer cleverly points out one of Haynes’s statements, where he wanted to have a unique narrative structure, and thus stated: “I felt like if we followed a genre very closely, but did it with dolls, and did it very carefully and very lovingly and attentively, it could stimulate emotions in a viewer the way it would if it was actors” (Barr par. 2). In other words, there is an intentional effort to follow the story, gradually spiraling from one character to another without any rigid transitions. Therefore, the film’s narrative puts a great deal of emphasis on non-verbal communication because it wants to keep conversations and interactions as realistic as possible.
However, the emotional elements and key aspects of the characters’ exchanges are delivered through gazing, staring, smiles, and other forms of expression. Under the conditions of such a narrative, the role of a judge is assumed not by the director, producer, or scriptwriter but by the viewer, and moreover, not by an individual viewer but by the audience. If the audience is captivated by the cinematic image, emotions and feelings awakened in it, then the filmmaker has successfully completed the task. In other words, in Carol’s narrative structure, the delivery of meaning and essence is carried out through the captivating followership of the protagonists.
In conclusion, the selected movie’s narrative differs from the traditional forms due to the use of several perspectives from which protagonists can be met and observed. The transitions between one subplot to another are intricately smooth, which ensures the cohesiveness of one singular story. The film does not try to explain but rather shows in its natural setting without excessive invasiveness from a viewer’s perspective.