le 5 avril 2006
You know how when you go to see a movie in the theatre and as soon as the end credits start rolling people start getting up and leaving? This did not happen during this movie. Everyone was simply glued to their seats and let out a deep breath to try and release some tension.
This movie makes you love and hate Truman Capote. It's not one of those docudramas that patronizes the focus. Traces his life while writing 'In Cold Blood' the first "Non-fiction Novel" which is the book that made Capote famous. The film is funny, suspenseful, scary, sad, unsettling and unforgettable. Remember, these events really are based on truth (with little to no fabrication for the movie).
"In Cold Blood" is one of the most fascinating works of American literature -- a book that blurs the boundaries of fiction and nonfiction.
But the writing of the book is almost as fascinating as the events that inspired it, especially since the two became intertwined. This forms the core of "Capote," a fascinating look at the writing project that overwhelmed Truman Capote's life -- and while the movie is quite solid, it's the late Philip Seymour Hoffman who truly shines.
Writer Truman Capote (Hoffman) sees a small article in the newspaper, about a family who has been murdered in Kansas, and is immediately inspired to write about it for the New Yorker. Along with his friend Harper Lee (Catherine Keener), he sets out for Kansas and begins interviewing people who knew the Clutter family. They even get to know Alvin Dewey (Chris Cooper), the detective on the case.
Then the murderers are caught -- a pair of troubled thugs, Perry Smith (Clifton Collins, Jr.) and Richard "Dick" Hickock (Mark Pellegrino).
Suddenly Capote is inspired to take his story far beyond its roots, and his New Yorker story begins to blossom into a full-length book. As he interviews the two men, a warped bond begins to form between Capote and Smith, whom he sees as a kindred spirit.... even though he hasn't revealed how his book will be written. But as the years and legal battles go on, he becomes more determined to finish it at last.
The late Philip Seymour Hoffman won an Academy Award for his performance as Truman Capote, and it isn't hard to see why. He seems to slip into Capote's skin -- his looks, his high nasal voice, his fey mannerisms -- but he also fills the cracks with lots of genuine emotion. His Capote is both vulnerable and manipulative -- and thankfully, director Bennett Miller is intelligent enough to realize that neither eclipses the other.
On one hand, Capote seems to feel a true connection to Perry, as if they are two sides of the same coin -- in one scene, he plaintively tells Harper Lee that he and Perry came from the same house, and that he went "out the front door" while Perry was forced to leave via "the back." But the movie doesn't shy away from the suggestion that Capote manipulated the convicted men to get the book he wanted, although the extent is left ambiguous.
And as the movie winds on, Hoffman's Capote seems to be slowly crumbling under the weight of his magnificent book that he's producing, as if it's vampirically sucking out his vital juices. At the end, he's emotionally and creatively spent, adrift, left only with the reflections of his darker self.
As a recounting of "what happened," the film is actually pretty close to the reality of what happened -- it follows Capote closely as he winds his way through the Kansas town, with Harper paving the way before his feet. Miller mostly depends on Hoffman for atmosphere, letting him fill the scenes with emotion or intensity -- but he brings a tautness to phone calls, a darkness in the executions, and a sense of barely-restrained violence when the convicts are onscreen.
The other actors are all pretty good, although they are effectively window dressing for Hoffman -- Catherine Keener is the only one who truly rises above the herd, depicting Lee as a sharp, smart, incisive woman whom Capote leans on.
"Capote" is one of those movies that is elevated to brilliance by the presence of a truly great actor -- and the director's delicate, nuanced touch with Capote's psyche doesn't hurt either.
le 21 novembre 2014
Love “Philip Seymour Hoffman” this movie “Capote” couldn’t have fit a better actor than him,
someone said the part when he’s talking with some of the audience of followers of his book,
they didn’t like it, when your mouth takes over you brain, its hard to shut up, isn’t it,
I love every second and every minute and the Hours it took to view this movie,
Oh My Oh My.....When Do We Envy Ourselves...
As a friend of mine said after seeing Capote, "That movie was ALL Philip Seymour Hoffman!" All the acting is great, but Hoffman carries the film. It's probably the best performance of his career.
That being said, the script is great, the cinematography is stunning, and the characters evoke pathos. A really moving film.
le 6 avril 2006
If the smarmy, monotonous, yawn-ridden cocktail party scenes won't hold your interest, the brilliantly portrayed emotional prostitution of Capote's prison visits definitely should. Remarkably little blood and gore, considering the plot is touched off by an entire family being shotgunned to death.
Too bad the Harper Lee character isn't given more screen time.
le 12 janvier 2013
This is one of those movies where its impact is as large as the year it came out. Not really rewatchable, but I bought it because of all the Oscar buzz whenever it came out. Overall, a great movie, but not really too enduring. For a better experience, read In Cold Blood. That paints a really good portrait of Capote.