IMDb > In Cold Blood (1967)
In Cold Blood
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In Cold Blood (1967) More at IMDbPro »

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Overview

User Rating:
8.0/10   16,258 votes »
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Down 5% in popularity this week. See why on IMDbPro.
Director:
Writers:
Truman Capote (based on the book by)
Richard Brooks (written for the screen by)
Contact:
View company contact information for In Cold Blood on IMDbPro.
Release Date:
7 March 1968 (Argentina) See more »
Genre:
Plot:
After a botched robbery results in the brutal murder of a rural family, two drifters elude police, in the end coming to terms with their own mortality and the repercussions of their vile atrocity. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Nominated for 4 Oscars. Another 5 wins & 4 nominations See more »
User Reviews:
Meticulous Celluloid Version Of Truman Capote's Book See more (117 total) »

Cast

  (in credits order) (verified as complete)

Robert Blake ... Perry

Scott Wilson ... Dick

John Forsythe ... Alvin Dewey

Paul Stewart ... Jensen
Gerald S. O'Loughlin ... Harold Nye

Jeff Corey ... Mr. Hickock
John Gallaudet ... Roy Church
James Flavin ... Clarence Duntz

Charles McGraw ... Tex Smith

Will Geer ... Prosecutor
John McLiam ... Herbert Clutter
Ruth Storey ... Bonnie Clutter
Brenda Currin ... Nancy Clutter (as Brenda C. Currin)
Paul Hough ... Kenyon Clutter

Vaughn Taylor ... Good Samaritan
Duke Hobbie ... Young Reporter
Sheldon Allman ... Rev. Jim Post
Sammy Thurman ... Flo Smith
Raymond Hatton ... Elderly Hitchhiker
Sadie Truitt ... Herself
Myrtle Clare ... Herself
Ted Eccles ... Young Hitchhiker (as Teddy Eccles)
Al Christy ... Sheriff
Don Sollars ... Luke Sharpe
Harriet Levitt ... Mrs. Hartman
Rhonda Fultz ... Nancy's Friend (as Ronda Fultz)

Mary Linda Rapelye ... Susan Kidwell (as Mary-Linda Rapelye)
rest of cast listed alphabetically:

Paul Carr ... Flo's Lover (uncredited)
John Collins ... Judge Roland Tate (uncredited)
Pamela Crosley ... Secretary (uncredited)

Nick Dimitri ... Las Vegas Cop (uncredited)

John C. Flinn III ... Policeman (uncredited)
Paul Frees ... Radio Announcer / Officer Asking for Rap Sheet (voice) (uncredited)

Roosevelt Grier ... Driver (uncredited)
Bobby Johnson ... Prison Guard (uncredited)
Richard Kelton ... Nancy's Boyfriend (uncredited)
James Lantz ... Officer Rohleder (uncredited)
Stan Levitt ... Insurance Man (uncredited)
Gerry Okuneff ... Policeman (uncredited)
Bowman Upchurch ... Andy (uncredited)
Guy Way ... Prison Guard (uncredited)
Darlene Williams ... Little Girl on Bus (uncredited)
Odd Williams ... Defense Attorney (uncredited)
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Directed by
Richard Brooks 
 
Writing credits
Truman Capote (based on the book by)

Richard Brooks (written for the screen by)

Produced by
Richard Brooks .... producer (uncredited)
 
Original Music by
Quincy Jones (music)
 
Cinematography by
Conrad L. Hall (director of photography) (as Conrad Hall)
 
Film Editing by
Peter Zinner (film editor)
 
Art Direction by
Robert F. Boyle  (as Robert Boyle)
 
Set Decoration by
Jack H. Ahern  (as Jack Ahern)
 
Makeup Department
Gary Morris .... makeup
 
Second Unit Director or Assistant Director
Tom Shaw .... assistant director
John Anderson Jr. .... assistant director (uncredited)
Carl Beringer .... assistant director (uncredited)
 
Art Department
Robert Eaton .... property master (as Bob Eaton)
Joe LaBella .... property master
 
Sound Department
John H. Newman .... sound effects
Arthur Piantadosi .... sound (as A. Piantadosi)
William Randall .... sound (as Wm. Randall Jr.)
Dick Tyler Sr. .... sound (as Dick Tyler)
Jack Haynes .... sound (uncredited)
Joe Henrie .... sound effects (uncredited)
Charles J. Rice .... sound effects (uncredited)
 
Special Effects by
Chuck Gaspar .... special effects
 
Stunts
Jerry Brutsche .... stunt double (uncredited)
Lee Faulkner .... stunts (uncredited)
 
Camera and Electrical Department
Harry Sundby .... chief electrician
Bernie Abramson .... still photographer (uncredited)
Eugene Barragy .... grip (uncredited)
Arthur Brooker .... key grip (uncredited)
Jordan Cronenweth .... camera operator (uncredited)
Michael A. Jones .... best boy (uncredited)
Emile Sauer .... assistant camera (uncredited)
Robert C. Thomas .... first assistant camera (uncredited)
 
Costume and Wardrobe Department
Jack Martell .... wardrobe
 
Editorial Department
Earle Herdan .... assistant editor (as Earl Herdan)
 
Music Department
Jack Hayes .... orchestrations
Leo Shuken .... orchestrations
 
Other crew
John Franco .... script supervisor
Al Horwits .... public relations
Alvin Dewey .... technical advisor (uncredited)
James Post .... technical advisor (uncredited)
Dominic Santarone .... caterer (uncredited)
Ruth Santarone .... caterer (uncredited)
 
Thanks
Joseph Satten .... acknowledgement: for technical assistance (as Dr. Joseph Satten)
 
Crew verified as complete


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Additional Details

Also Known As:
"Truman Capote's In Cold Blood" - USA (complete title)
See more »
Runtime:
134 min | Poland:129 min
Country:
Language:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Mono (release prints) | 3 Channel Stereo (original mix)
Certification:
Argentina:16 | Australia:M | Chile:14 | Finland:K-16 | France:-16 | Iceland:16 | Netherlands:18 (orginal rating) | Norway:16 | Peru:14 | Portugal:(Banned) | Singapore:PG | South Korea:15 (2006) | Spain:13 | Sweden:15 | UK:15 | UK:X (original rating) | USA:R (re-rating) (1970) | West Germany:18 (original rating) | West Germany:16 (re-rating)

Did You Know?

Trivia:
The "Jenson"/"Narrator" characters are based on the author himself, Truman Capote. Capote went to Kansas soon after the murders to cover the manhunt and to interview those who knew the Clutter family. After the apprehension and conviction of killers Perry Smith and Dick Hickock, Capote became a major part of the killers' lives while they were on death row, forming a particularly close bond with Smith. Smith gave most of his belongings - drawings, books - to Capote. Capote was present at the executions and witnessed the carrying-out of Hickock's sentence, but couldn't bear to watch Smith die, and left the room before he was brought in.See more »
Goofs:
Crew or equipment visible: When Dick is in the interrogation room just before he confesses, you can see the reflection of the camera in the window on the door before and after the detective enters the room.See more »
Quotes:
[first lines]
Little girl on bus:'Scuse me.
See more »
Movie Connections:
Referenced in The Dreamers (2003)See more »
Soundtrack:
Row, Row, Row Your BoatSee more »

FAQ

What became of the real Smith and Hickock?
How much sex, violence, and profanity are in this movie?
How does the movie end?
See more »
38 out of 51 people found the following review useful.
Meticulous Celluloid Version Of Truman Capote's Book, 4 January 1999
Author: Michael Coy (michael.coy@virgin.net) from London, England

Many films are derived from novels and, in the normal way, it is unhelpful to compare the movie with the book, for the obvious reason that they are distinct art-forms, constrained by different technical limitations. However, this one really does have to be understood in the context of the book which engendered it.

Capote's book is a factual account of a multiple murder in a small Kansas town. Two young drifters plan a robbery which misfires and ends in violence. The book traces the course of the patient investigation which eventually brings the killers to justice. Because the book is a species of journalism, uncompromisingly anchored in fact, the film cannot help but follow suit, with the added burden that it must faithfully represent on the screen real persons, places and events.

The mean lives of Dick Hickock and Perry Smith are documented in stark monochrome. Panavision is used to powerful effect to show the wide, flat spaces of Kansas. Quincy Jones's atmospheric jazz score adds salt to the bleak images. The austerity of blue collar life in the Mid West of the 1950's is splendidly evoked as our two delinquents move through a rolling montage of Travelodges and diners, launderettes and interstates.

This is a film of straight lines. The flat, relentless landscape of Kansas generates horizons that are ruler-straight. Roads stretch into the distance without the hint of a curve. Slat blinds cast harsh bars of light across room interiors. The penitentiary scene is a symphony of geometric lines. Hickock and Smith have had their characters forged by incarceration, and we see that their 'outside' lives are, in a real sense, another form of imprisonment. The lines which enclose them denote the hopelessness of their existence.

The starkness is reinforced by neat, economical editing. The throwing of a light switch in the Hickock farmhouse carries us to the Clutter home, where a light is being turned on, and the words 'any crowded street' whisk us into just such a street. A cigarette butt is discarded, and its ugly cylinder becomes an electromagnet searching for the murder weapon. The Clutters' cleaner realises that a radio has been stolen, and we see the radio playing at Dick's bedside.

Once under arrest, Dick makes a powerful speech about tattoos. The detectives are trying to provoke him by sneering at his 'body art' and he points out that we all carry tattoos of some kind. Our dress, speech and attitudes mark us indelibly and fix us in our time and place.

Herb Clutter and his family lead a spartan home life. The farmhouse is spare and unadorned, but its order and solidity make a sharp contrast with the chaos and squalor of the rented rooms where Dick and Perry hole up. Dick 'hangs paper' (passes dud cheques) in respectable Kansas stores, amassing clothes and electrical goods on a spree which exploits the trust between vendor and consumer and uses it as a weapon - Dick and Perry's revenge upon 'decent' America.

Once the arrests have been made and a trial scheduled, the film switches to a voice-over narration. No doubt this was done in order to shorten the custody passage (this is extensive in the book, but does not lend itself readily to film treatment), but it jars. Up to this point, Hickock and Smith have told their story through action. Narration is second-best.

However, the film is a highly-reliable rendition of the book, and contains some impressive touches. Mail bags come somersaulting from the hurtling express-train like so much tumbleweed. The rapid crossfire of the detectives' press conference conveys a lot of important information to the viewer in an economical way. A detective talks us through a psychological profile of the as yet unknown killers, and it is very persuasive. While our two heroes are lying low in Mexico, a beautiful mariachi song accompanies a bedroom scene, the music evoking a sense of loss and regret, and leading naturally to Perry's flashback memories of his mother's degradation.

To ask if the film is as good as the book is meaningless, but it is certainly a highly-commendable reworking of the book in visual terms. The interplay between the two delinquents is first-class, the easy charm of Dick giving way at critical moments to naked fear of the inscrutable dreamer Perry.

Was the above review useful to you?
See more (117 total) »

Message Boards

Discuss this movie with other users on IMDb message board for In Cold Blood (1967)
Recent Posts (updated daily)User
'I've got a house full of women afraid to go to the toilet alone' greenhearted
Why did they need a Confession? kag2-1
Murder sequence--equisitely directed? gonemoab
Two Morality Questions After Watching It CrescentRoses
Who killed who ginger-what
Who got the money from the insurance company? mangeder
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