Capote

This is a fine character study of Truman Capote whose professional desires collide with his personal desires, as he researches and writes about the 1959 murders of a Kansas family. The film examines how these conflicting desires arose, and how Capote, the person, handled the ordeal once he realized that these desires were mutually exclusive.

Hoffman mimics Capote's posture, voice, facial expressions, and overall mannerisms quite well. It's a great impersonation. But, towards the film's end when Capote has to say goodbye for the last time, Hoffman's portrayal of Capote's grief and helplessness goes well beyond parody. It's an example of genuine acting ability.

Other performances are also good, especially Chris Cooper as Prosecutor Alvin Dewey, and Catherine Keener as Capote's friend, Nelle Harper Lee. In addition to the fine acting, the story itself is gripping, because it is a true story. It's been told before, most convincingly in 1967's "In Cold Blood", from the POV of the killers. That film was photographed in B&W. "Capote", by contrast, is in color. But the colors are all muted, reassuringly so, in view of the subject matter. The tone of "Capote" is solemn and earnest, almost funereal. The pace is slow and deliberate. Music is restrained.

Viewers with little or no interest in the central character may find the first half of the film slow going. It plods along without a lot of tension or suspense. But as the writer bonds with the convicted killer, tension picks up, and then further builds en route to a profound destiny.

My only critique, beyond a slow beginning, pertains to the minimal attention given to era atmosphere. Given that the story takes place in the late 1950s and early to mid-1960s, I would have preferred more cinematic cues of that time period, especially with regard to music, decor, and cultural themes which are curiously absent, aside from obvious props like cars and telephones.

The Clutter killings were, and still are, unsettling and haunting, even after all these years. "Capote" is a high quality film that describes Truman Capote's research into the case, especially as regards the mindset and motivations of the killers, and further examines the effects that Capote's investigation had on him, both as a writer and as a human being with feelings. Though the story is good, Hoffman's wonderful performance is the real reason to see this film.

Every action has a reaction, and watching "Capote", we can't help but wonder how it ever got made. "Capote" is entrancing, dark, depressing, and quite satisfying. It benefits from Hoffman's perfect performance. He embodies the physical and psychological make up of a man who was the toast of the nation before and after the publication of its classic novel, "In Cold Blood". As a human being, he appeared to be an intelligent, fascinating, and manipulative creature. He could have gotten away with almost anything. Then he found the two criminals behind one of the most heinous crimes of the century and might have gotten to the realization he could also be trapped by their own dark existences.

It is difficult to ascertain what happened to Capote after he developed a relationship with Smith. He grows attracted to the actions and revelations behind this killer, and we never really know what is exactly going on. There are displays of guilt and detachment at different parts in the film. What we do see is that something really affected the man, and it changed his life for good.

The film moves slowly but never loses its audience. Along with Hoffman, a remarkable supporting cast keeps us interests going, and enough is presented to make us want to know more. That will probably be the film's only flaw. It fails to deliver everything it promises. It is a big satisfying tease, but after all, we are left with an endless number of questions. Keener is wonderful as Capote's supporting friend, and in his lover's role, Bruce Greenwood intrigues us as well, with the dubious character that never gives enough information to explain his attraction to a total opposite.

"Capote" is a really good film and should be admire for it achieves. For those who want to explore more in depth what lies behind the protagonists of the movie, there are several books that will give you a more detailed background on their nature. The truth, will however, remain, a big mystery.

CAPOTE, first of all, is a well written film by the talented Dan Futterman, whose performance in URBANIA we will always remember, and for Philip Seymour Hoffman, this is his "Golden Globe and Oscar Award" all in one. From the first scene, Hoffman creates the essence of the acid tongued, tremendously talented, yet damaged, Truman Capote.

Having read IN COLD BLOOD when it first came out, CAPOTE really captures on the screen the horror of what took place on that Kansas farm and the cinematography, costumes and locations are wonderful to behold. Miss Keener's performance is such a subtle and intelligent contrast to the hysteria of Capote, and his perfect foil.

In the scenes with Perry Smith, they are haunting and disturbing, as if it feels like two cobras are circling one another, waiting for the first one to strike. And in this context, I ask, "2 Capote, or NOT 2 Capote?, that is the question", because both are on the take-Smith to use Capote for obtaining a pardon, Capote, to nail the story that will gain him the adulation he so adores. And then, Capote slides downhill, while Perry rots in prison.

CAPOTE captures the essence of the 1950's, the horror of a brutal killing in the vast farmlands of Kansas, and delivers a knock out performance from Philip Seymour Hoffman. If only IN COLD BLOOD had not seemed like a manipulation by a writer out for glory at the expense of a prisoner who believed in him.

This is not a biography of Truman Capote, but rather a biography of his last complete major work "In Cold Blood." I read this book as a teenager and thought it brilliant and disturbing. This film does a wonderful job of depicting the moral ambiguity of Capote's work, his egotism, and the life history and inner conflicts which allowed him to create this great work. All the same, the subject matter here is really not explored in the depths it deserves, and the film sometimes loses its focus in the depth and quality of its performances.

Hoffman has already won a number of awards for his performance. I have no qualms about this - he's a great actor and this is a challenging and powerful role played to the hilt. However, I also want to point out the tremendous supporting cast. Catherine Keener and Clifton Collins are both deserving of recognition for their intense portrayals of Harper Lee and Perry Smith.

If you're a fan of Capote, or a fan of In Cold Blood, you will enjoy this, though it isn't really going to show you anything that you were not aware of. If you are the sort who goes to movies you're not necessarily that interested in just because a great performance is involved (like me in this case), you will likely enjoy Capote.

The easiest role for an actor to play is a historical figure - we have no idea how Julius Caesar really sounded, how he moved his body, punctuated his speech, bit his lip, walked into a room, held his cigarette. The hardest role is the living, or recently deceased, celebrity whom we watched, heard, studied, mimicked and thought we understood. JFK, Martin Luther King, Ray Charles, and, above all, the inventor of self referential celebrity, Truman Capote (with apology to Andy Warhol and, of course, Noel Coward)..

After exploding to meteoric fame with his novella Breakfast at Tiffany's, Capote became the New York café society's darling, heir to Coward's gay-man-child-bon-vivant. He drank and held court with the best of New York, which just also happened to be the nexus of television in the early 60s. Before long Capote was the quintessential modern celebrity, famous for being famous. And he did it all before our eyes.

Philip Seymour Hoffman does not so much play Capote as become him. And not just in mannerism, no mean feat, but in personality, because we are convinced that Hoffman feels what Capote felt, cries over the lies, accepts his moral failings. For a short story writer-raconteur from New Orleans, Capote found himself at the center of a nationally enthralling multiple homicide, facing the ultimate journalist's Faustian dilemma: if he perpetrates a lie for the sake of exposing the truth, is he ever worthy of redemption? Capote, in the end, concluded that he wasn't; he never wrote another book. He descended into drunkenness and died a lonely soul. This is not the stuff of Holly Golightly.

I saw this picture at the Toronto Film Festival with Hoffman, Catherine Keener and director Bennett Miller in attendance. Though they had seen it many many times before, it was obvious even they were moved by it and by our reaction. As we stood and applauded them, we turned to one another, glowing in the realization that we had witnessed an amazing performance.

We knew Truman Capote. We watched him live on television. Truman Capote was (we imagined) our friend. Mr. Hoffman, you are Truman Capote.