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'Capote' outstanding look at 'In Cold Blood' author's life

February 8, 2006
This undated photo provided by Sony Pictures Classics shows actor Philip Seymour Hoffman as Truman Capote in a scene from "Capote." "Capote" was nominatd for best picture and Hoffman was nominated for best actor for the 78th annual Academy Awards Tuesday, Jan. 31, 2006. The winners will be announced at the Oscar ceremony on March 5. —

In 1959, a family of four in sleepy Halcomb, Kan., was brutally murdered. Enter Truman Capote — writer for The New Yorker — desperate to tell the story.

Capote devotes years to his research. He interviews everyone in town and both the murderers. What was originally a short piece for the magazine becomes his most famous nonfiction book, "In Cold Blood."

"Capote" takes its audience through the process that would make "In Cold Blood" a reality, the writer famous and — it seems — eventually destroy Capote.

The film is carried by Philip Seymour Hoffman's acting as Capote. Hoffman delivers a genius performance of a troubled and complex man. "Capote" is a movie that primarily focuses on one character, and that's fortunate because the supporting cast pales in comparison to Hoffman.

Perry Smith, the murderer with whom Capote forms the closest bond, is played by Clifton Collins Jr. His performance leaves the viewer wanting more. Smith is supposed to be a character with a lot of depth, but Collins is fairly bland in the portrayal, only giving the viewer glimpses of convincing emotion.

The relationship between Capote and Smith is central to the movie. Despite Collins' mundane performance, the issues raised through their interactions provide for the most intriguing points of the story. The film questions Capote's motivations for befriending Smith. Capote is essentially an egotistical man who craves fame and fortune, but he gives you glimpses of a different person. At times you think Capote has fallen in love with the murderer and truly feels sympathy for him. A connection is drawn between Capote's identity and that of Smith.

The cinematography is dreary. With the exception of Capote and his boyfriend's short stay in Spain, the filming focuses on the mundane Midwestern feel of the story. But the blandness works well; it adds to the dark feeling that has swept both the town of Halcomb and Capote's life.

Bennett Miller does a great job showing the murders. As Smith relays his regretful account of the night of the murder, the movie portrays the events. Previously, we had only seen the dead bodies. Later we see the actual murder. The dark lighting helps to soften the graphic images of the slain family.

The film moves slowly and is not quite suspenseful, but it has a quality that pulls the viewer along so one is never bored. The story spans many years and does a good job of staying focused on Capote and the murders. The viewer receives little sidebars of the time period throughout the film.

The long time span also allows for the viewer to see the downward spiral of the man himself. He begins as the center of attention at parties, a great entertainer and the envy of his peers. He ends up a broken man — we see him at the premiere of the film "To Kill a Mockingbird" a transformed person. He is surly, withdrawn and alone. He is jealous and not impressed with Lee's work and mutters to himself, "Frankly, I don't see what all the fuss is about."

During the credits the viewer is informed that Capote never finished his second book and died in 1984 due to complications with alcoholism. This ends the slow decline of the main character portrayed in the film. Despite its minor shortcomings, "Capote" is still a film that leaves the audience stunned at the end.

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