Capote

I've never read Truman Capote's true crime classic In Cold Blood. It's one of those books that for years and years I have overlooked. After watching Bennett Miller's biopic Capote, however, I certainly plan to get myself a copy. In fact, there were moments during the film when I felt a strong urge to hit the stop button and go out immediately in search of one.

Which is not to say Capote is a poor film. Far from it. Minus some minor flaws, it could have been a masterpiece. As is, it's a solidly structured and well-directed -- albeit subdued -- film. Still, for much of its running time the film feels more like an ad for Capote's book than an intriguing story in its own right, which it unquestionably is. Case in point: my favorite scene occurs when Capote (played by Philip Seymour Hoffman) reads excerpts from his then as-yet unpublished work. I wonder if I'm the only one.

Less a biopic than a history of the research and writing of In Cold Blood, Capote nevertheless deftly manages to paint an accurate portrait of the great writer's life and the moral dilemma he faced while composing his final book. The film's title seems misleading in a sense, but also apt, because Miller essentially shows Capote as a selfish man, one who inserts himself into the case of the two murderers to further his own agenda: his art. Along the way, Capote develops a great fondness for one of the killers, Perry Smith (played by Latin music singer and Mr. Jennifer Lopez, Marc Anthony...sorry, that's Clifton Collins Jr.), but ultimately, faced with having to make a decision between finding yet another lawyer to postpone the criminals' fate and finishing his book, already 4 years in the making, he betrays the singular friendship. If Smith and Hickock are granted another stay of execution, Capote reasons to lifelong friend and prolific novelist Harper Lee (played by Catherine Keener), he will assuredly suffer a nervous breakdown. If they are hanged, he has the final chapter of his book. Guess which outcome he chooses.

Capote's refusal to throw Smith and Hickock a life preserver -- leaving them hanging, so to speak -- so that he could complete his novel was a decision that, seemingly, haunted the writer for the rest of his life. He never should have involved himself in the case so deeply from the start, and several times the movie subtly questions the ethicality of those actions -- actions which have since been repeated innumerous times by various writers, reporters and news sources for the sake of furthering their own agendas. I speak from experience, here.

But Capote, instead of being demonized, is portrayed as a tormented soul who recognizes his betrayal and is eaten alive by regret. And he is impossible not to like. A hugely talented and flamboyant personality, Truman Capote in the film is depicted as a witty conversationalist, a neurotic-yet-gentle character the likes of which we'll probably never again encounter in literature, and a dear friend.

Philip Seymour Hoffman's Oscar was well-deserved (although I will assert until the day I die that Terrence Howard was more deserving for his role in Hustle & Flow. But I digress) as he again shows what a phenomenal actor he is. He manages to capture Capote's voice and mannerisms perfectly, much in the same way he expertly captured Lester Bangs's in Cameron Crowe's neo-classic Almost Famous. My only complaint about the role is that he often breaks character when laughing or staring expressionlessly during another character's dialogue. In that regard Hoffman's portrayal is just a notch below Jamie Foxx's tour de force* performance in Ray (though Capote is overall the better film), but it's pretty damn close.

The supporting cast is terrific as well, particularly Catherine Keener and Clifton Collins Jr. The latter possesses an extensive resume of mostly unremarkable film and TV work. Based on his performance here -- which arguably deserved an Oscar nod -- I hope he gets a shot at bigger and better roles. Chris Cooper (one of the few Hollywood actors whom I'm certain has the capacity to be as frighteningly imposing in real life as the characters he often portrays; let's just say that, were I presented with the opportunity, I'd think twice before dating his daughter) is great as always, although his role is relatively minor, and he at times appears perceptibly conscious of and disturbed by the fact. Also deprived of screen time is Bruce Greenwood (the man to call if you're a casting director in need of someone to play a politician), who plays novelist and playwrite Jack Dunphy, Capote's longtime partner (their relationship, much like Capote's real-life homosexual affairs, is only hinted at). For anyone who wants to see the more intimate side of both their and Capote and Perry Smith's relationship, another biopic, Infamous (word to Mobb Deep), centered around the writing of In Cold Blood is due for release later this year (warning: Sandra Bullock plays Harper Lee). Hollywood redundant? Incroyable! C'est impossible!

One huge knock on the film is its score. Sure it's moody and even somewhat memorable, but mostly it's a generic recreation of Brooks Hatlen's theme from the Shawshank Redemption. For such a unique film, it's a shame that the score is a knock-off.

Tell you what, though: when Infamous is released on DVD, I promise to write a review comparing it to Miller's film. And if I find the former to be superior, I promise I'll eat my soon-to-be-purchased copy of In Cold Blood with relish...I mean ketchup.

3 1/2 out of 4 *_*



* Every film critic is allowed to use the term "tour de force" 3 times in his or her life. This, I believe, is my second.