Capote | Philip Seymour Hoffman, Catherine Keener

Capote | Philip Seymour Hoffman, Catherine Keener | Capote

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Capote

	Capote Philip Seymour Hoffman, Catherine Keener Sony Pictures, 2006 average customer review:based on 281 reviews view larger image
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highly recommended

In 1959 Truman Capote a popular writer for The New Yorker learns about the horrific and senseless murder of a family of four in Halcomb Kansas. Inspired by the story material Capote and his partner Harper Lee travel to the town to research for an article. However as Capote digs deeper into the story he is inspired to expand the project into what would be his greatest work In Cold Blood. To that end he arranges extensive interviews with the prisoners especially with Perry Smith a quiet and articulate man with a troubled history. As he works on his book Capote feels some compassion for Perry which in part prompts him to help the prisoners to some degree. However that feeling deeply conflicts with his need for closure for his book which only an execution can provide. That conflict and the mixed motives for both interviewer and subject make for a troubling experience that would produce an literary account that would redefine modern non-fiction.System Requirements:Running Time 98 Mins.Format: DVD MOVIE Genre: DRAMA Rating: R UPC: 043396126480 Manufacturer No: 12648

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Great movie

In an age of movies that are loud, brash, violent and special FX laden I was so impressed to see a movie where I wanted to sit right up close to the TV to catch every word. They don't make any good thought provoking movies anymore but seeing this movie renewed my faith that there are still some good people out there making fine films like this. To all the folks who were involved in the making of this film I say a big thank you. I haven't been lost in a movie in a long time till this came along.

Capote

I really did like this movie. I knew the story of "In Cold Blood" and learning how Truman Capote came to write it, was a story within a story and was very interesting.

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Intriguing and Difficult Character Study

Capote is one of the more thought provoking movies I've seen this year, in which viewers are given a long, almost agonizing look into the heart, soul and angst of author/celebrity Truman Capote.

Philip Seymour-Hoffman is fabulous in his portrayal of Truman Capote who sets out to investigate the murder of a family in small town Kansas. Capote's original magazine article grows into a book as the writer is drawn into the horror of the murder and the shaping events in the brutal killers' pasts.
As Capote unravels the truth of the heinous crime the viewer is given glimpses into his own tragedies and the results of those in his life, and his obsessive connection to one of the two men who await execution.

This is not light entertainment. And the subject matter guarantees some gruesome elements which are there. If you love to look into a soul and discover what makes it unique and fragile, you may find that this film is a gem.

Because of my visit to Capote's mind, I intend to watch Infamous and read In Cold Blood.

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Solid biopic

The only reason to make a film about someone as controversially repugnant as Truman Capote would be to illuminate his greatest quality- his superb prose writing. At his best, Capote was one of last century's greatest wordsmiths. Instead, the current film, Capote, focuses on the lesser things the man was known for- his showmanship, sensationalism, and homosexuality- although in that last category what is shown is tame and watered down. Now, I'm not saying that a full fledged swordfight between Philip Seymour Hoffman (who plays Capote) and Bruce Greenwood (who plays his lover Jack Dunphy) was necessary, but since the film focuses on the six years Capote was researching and writing his 1965 non-fiction novel In Cold Blood, because of his homoerotic attraction for one of the two killers the book follows, Perry Smith (Clifton Collins, Jr.), it would have illuminated something more about the man. Of course, what creative processes were behind Capote's creation of what he termed `a whole new form of writing'- the `non-fiction novel'- would have been even better.
That said, these elements, which are the fault of the screenplay by Dan Futterman, adapted from Gerald Clarke's biography Capote, are the only things that keep this good film from greatness. All the rest of it, including the direction by Bennett Miller, is superb, starting with Hoffman's stab at the icon. This is not a hagiography, and the film makes several wise choices, of which showing Capote's flaws is one. Another excellent choice is to not do a cradle to grave biopic. By focusing only on a few year period it allows us a look at a pivotal point in the character's life. But why, then, not go deeper into the creative processes of the artist? Why not try to provide some insight into why this meek, little man would be so attracted to an amoral thug? Manifestly, there is nothing left to get at with the November 15th, 1959, Holcomb, Kansas murders of the Clutter clan by Smith and Dick Hickock (Mark Pellegrino). As with Leopold and Loeb, before them, and any number of spree killers after them, they are relative ciphers. So, why Capote's need to `understand' them, especially Smith, if not the homo-eroticism? Unless the whole point of the film is to show us Capote as a vampire, waiting for the pair's execution so he could have a good ending for his book.
Yet, there was so much more to be mined- Capote's relationship with Jack Dunphy- both as a lover and artist. Considering that Dunphy was not in a league with Capote as a writer would have made their dynamic all the more interesting, as well giving the criminally underrated Greenwood (so good in the cult tv series Nowhere Man and as JFK in the Kevin Costner film Thirteen Days) a chance to show his considerable acting chops in a major role, in an arts house film. Another waste was the whole presence of Capote's childhood friend, Catherine Keener's (Nelle) Harper Lee character, despite her solid portrayal, especially considering her own one hit wonder, To Kill A Mockingbird, was big right at this time.... A final point, though, and that is with the title of the film. Given the wise decision to not go cradle to grave, why such an all-encompassing title? Why not something more specific and germane to what is onscreen? As with much else in the film, such as Hoffman's over-hyped, but solid, performance, it is these little niggles and wrong turns that make so much of what the film does right go wrong enough to just miss being something truly great.

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