Review: Capote (2005) · 1:24am Nov 7th, 2015
Bennett Miller's cerebral, almost surgically precise retelling of famed writer Truman Capote's writing of Capote's magnum opus "In Cold Blood", is not only a vehical for a tour de force performance by Philip Seymour Hoffman, but also a fascinating character study of Capote, and his obsession with the brutal murder and one of the murderers themselves.
Bennett Miller's direction is impeccably precise and controlled, and fills the film with a perfect aura of cold alienation and melancholy, which suits the underlying alienation and melancholy that plagued the actual Capote. Often letting the camera linger, and editing at a deliberate and careful pace, the film unfolds slowly yet effectively, creating a unique intimate yet aloof portrait of Truman.
Of course, this also relies on an actor able to draw us into Truman Capote, and the late, great Philip Seymour Hoffman does so in the way that so defined his dedication to every part he took. Hoffman vanishes completely into the body, mannerisms and psychology of Truman Capote, whose voice is a high, nasally and fragile light southern accent, and whose mannerisms are like those of a bird. In a performance that is immensely subtle, Hoffman makes sure that the performance is never false, and that the character of Capote, that of a social butterfly who chatters up at parties, gossiping and sharing embarrassing stories, and name dropping a celebrity every few sentences like a verbal tick. But under this mask of flighty happiness, is a lonely, melancholic man who feels alienated by everyone, and seems unable to forge a true friendship, with the possible exception of his childhood friend Harper Lee (Catherine Keener), who serves as a strikingly straightforward and honest counterpoint to Capote's habit for embellishment and obscuring. Its no wonder why Hoffman swept the 2005 acting awards, managing to win not only the Academy Award, but also the Golden Globe, BAFTA, SAG and Critic's Choice for his performance here.
The rest of the cast, such as Catherine Keener (who netted an Oscar nomination for this), Chris Cooper, Bruce Greenwood, and various others, all turn in great, understated yet solid supporting roles. But the standout, amongst all of them, is Clifton Collins Jr.'s multi-layered performance as convicted murderer Perry Smith, to whom Capote takes on a friendship with. In a performance that tugs at the heart strings, Collins Jr. gives the murderer Smith humanity and depth, and while the film reminds us of Smith's capacity for brutality (through a vivid, shockingly matter-of-fact reenactment of the brutal murders), Smith remains a sad, almost tragic figure.
The cinematography by Adam Kimmel is cold and clinical, accurately recreating the chill of Kansas winters. In league with Mychael Danna's moving, intimate piano-and-strings score, it helps further the melancholic aura that Miller wishes to capture.
The film keeps it deliberately vague how much Truman Capote actively cares for Smith, with Capote often lying to Smith's face while in prison, claiming the book has no title or that he hadn't yet started it, when in both instances, the book was already given a title and very nearly complete. This means that a viewer can interpret Capote in a myriad of ways, as either a man who sincerely wishes to help whom he sees as unjustly treated, or as a shrewd manipulator and egotist, whose prime motivation is to basic in the fame that his book will no doubt bring him. Or perhaps some strange combination of the two. Miller leaves it up to us.
So suffice to say, the film is an amazing portrait of Truman Capote the man, and a fascinating study of him as a person.
5 out of 5 stars
Been wondering about that film.
Sweet.
Might take a peek later.
~Skeeter The Lurker