Biographical movies rarely work, especially because it’s virtually impossible for any person’s life to be condensed into a two-hour narrative. So when filmmakers attempt to do this, the result is typically a limp drama that mythologizes the subject and gives actors an opportunity to milk their weak imitations of celebrities in pursuit of award statues. That is why it is a surprise that Capote is such an effective film.
First-time director Bennett Miller does not try to make “The Truman Capote” story, but instead focuses his attention on Capote’s experiences writing his masterpiece, In Cold Blood. Miller and screenwriter Dan Futterman are able to capture the essence of Truman Capote through this story. They thoroughly examine the character of this complex man, without relying on biopic clichés such as childhood flashbacks or gratuitous deathbed scenes.
The movie opens with Truman Capote moving to a small Kansas town to investigate a brutal murder for New Yorker magazine. As he learns more about the killers and befriends locals involved with the case, Capote realizes that he can turn what was supposed to be a simple article into a full-length novel. Using his characteristic charm, Truman gets extensive interviews with the murderers, developing a bizarre relationship with killer Perry Smith. Capote seems to become close friends with the man, despite the fact that he is simply using him for his book. Eventually Truman finds himself helping the killers with their case despite the fact he needs them to die for his book to work. Capote never fully recovered from the moral dilemmas he faced writing In Cold Blood, delving into alcoholism and never completing another book. This story perfectly captures Capote’s social genius, intellectual prowess and crippling narcissism.
Director Bennett Miller and screenwriter Futterman were childhood friends and Capote is a dream project the two have been struggling to make for years. Futterman’s screenplay examines the complex emotions involved with the story without ever becoming overly sentimental. Miller’s direction is subtle, controlled, and never manipulative. He uses a dull grey palate to emphasize the tragic tone and employs handheld camera and various editing techniques to heighten emotions and crucial moments in the plot. Despite strong work from these two collaborators, who have clearly been working on the movie for quite some time, this is the type of film that lives or dies based on the quality of the performances by the cast. Fortunately this is not a concern as Capote features some of the finest acting of the year. Philip Seymour Hoffman has received a great deal of praise for his performances as Truman Capote and the hype is certainly deserved. Hoffman is one of the most underrated actors of his generation, stealing scenes in ing roles for a decade in films such as Boogie Nights, Magnolia, and Happiness. Lacking quintessential, movie star good looks, he has never been given a strong leading role before Capote and takes full advantage of his increased amount of screen time. Completely losing himself in the role, he adopts all of the writer’s trademark mannerisms and inflections. But Hoffman’s performance is not just a clever impression or a caricature; he also captures all of the internal pain and conflict of the man, without ever overreaching as an actor. He is guaranteed to receive some major acting award nominations this year, and deserves to win them all.
Hoffman is surrounded by a strong ing cast lead by Catherine Keener’s portrayal of To Kill A Mockingbird author Harper Lee. Keener may not have as complex a role as Hoffman does, but she is able to hold her own on the screen as Capote’s comforting and ing friend. Chris Cooper has a few scenes as the town sheriff and is as effective as always, but the real surprise is Clifton Collins Jr.’s performance as killer Perry Smith. Collins has been acting since age 11, but has never been given a role that challenged him as much as this. He is riveting as a murderer with a conscience, a role that easily could have been unbelievable and ineffective. The relationship between Perry and Capote provides the heart of the film, and the two actors’ performances are so strong that their scenes together are absolutely unforgettable.
Capote has earned a strong critical reception this year and is certain to be a major film during the awards season. During the past few years overrated biopics such as Monster and Ray have dominated the awards shows, but this year the hype is deserved. Capote tells a fascinating, touchingly true story that would be just as effective if it were fictional. The acting is outstanding and the film is technically proficient without being overly showy. Capote is a challenging and depressing piece of work, but also richly rewarding and well worth the experience. At a time of year when Hollywood studios release all their overrated “prestige pictures” in the hopes of Oscar gold, Capote is a strong, memorable film that deserves all of the accolades it will undoubtedly receive over the next few months.
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