Capote

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(c) ajmalouin 2006
(Rating: 4 by Al)
(2005—Bennett Miller—Canada/USA) (1 hour 54. Rated R for some violent images and brief strong language)

Some of us expected more and different from this film. That’s because, though it’s titled “Capote,” it only deals with Truman Capote’s trips to Kansas for research and interviews during the writing of his book, IN COLD BLOOD. We get no Breakfast-at-Tiffany’s, nor drunk-on-Johnny-Carson, nor (even) walking-the-snowy-streets-of-NYC-at-Christmas. The viewer should be aware of that going in. We only see various interior scenes of New York City (more’s the pity) wherein Truman holds court in smokey bars in between his periodic waddlings through Kansas. Kansas is the territory wherein the four murders Capote is researching for his book took place. Throughout the film, as throughout his real life, we get the impression that Capote was much, much more interested in Conversation than he was in Writing. Indeed, this leaning is so blatant that Al invented a verb to speak of the 107 books He himself has talked about writing. To use that verb in a sentence, “Al has capoted the book he was writing about General George Armstrong Custer.” The film “Capote” contains gobs and gobs of gifted acting. Philip Seymour Hoffman is superb as Truman Capote, our Pillsbury Dough Boy darling of “The New Yorker” and of New York City itself. Catherine Keener is a sympathetic and understanding research assistant who also publishes her own book, TO KILL A MOCKINGBIRD, during the course of the film. There is also the wonderful visual and cultural dichotomy of these two New Yorkers and Capote’s publisher inserting themselves into the vast stillness of Kansas during the snows of winter. But wait, there’s more! There’s the glorious performance turned in by Clifton Collins Jr. as Perry Smith, the main subject and biggest victim of Capote’s book. The heart of this film is the relationship between the slaughtering Smith and the cleverly Capote. While other relationships sparkle like silver satellites under their influence, it is the relationship between Smith and Capote which fuels the film. By the time the relationship ends, cut short by Smith’s hanging, we are tempted to care more for the murderer Perry then we do for the writer Truman. Permaybe this the result of a great screenplay, or permaybe it’s merely a result of living in America.