In 1959, Truman Capote learns of the murder of a Kansas family and decides to write a book about the case. While researching for his novel In Cold Blood, Capote forms a relationship with one of the killers, Perry Smith, who is on death row.
Affectionate portrait of Tim "Speed" Levitch, a tour guide for Manhattan's Gray Line double-decker buses. He talks fast, is in love with the city, and dispenses historical facts, ... See full summary »
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Philip Seymour Hoffman,
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In 1959, Truman Capote, a popular writer for The New Yorker, learns about the horrific and senseless murder of a family of four in Holcomb, Kansas. Inspired by the story material, Capote and his partner, Harper Lee, travel to the town to research for an article. However, as Capote digs deeper into the story, he is inspired to expand the project into what would be his greatest work, In Cold Blood. To that end, he arranges extensive interviews with the prisoners, especially with Perry Smith, a quiet and articulate man with a troubled history. As he works on his book, Capote feels some compassion for Perry which in part prompts him to help the prisoners to some degree. However, that feeling deeply conflicts with his need for closure for his book which only an execution can provide. That conflict and the mixed motives for both interviewer and subject make for a troubling experience that would produce an literary account that would redefine modern non-fiction. Written by
Kenneth Chisholm (email@example.com)
Some of the prison guards in this movie are real correctional officers from Headingley Correctional Center & Correctional Service of Canada's Stony Mountain Institution See more »
In a scene Capote complains that he has been on the In Cold Blood case for four years. In the next scene he is invited to a party celebrating the movie version of Harper Lee's To Kill a Mockingbird. But four years after the murders would have been late 1963, and four years after he met the murderers in January 1960 would have been at least 1964. See more »
Brilliant portrayals are chilling. Philip Seymour Hoffman's invocation of the essence of Truman Capote is mesmerizing. I suspect that most of the readers on websites such as these may not have stored memories of Capote in the 60's. An unlikely media darling, I vividly recall his flaunting gay affectations and cosmopolitan barbs. Hoffman's detailed and incisive performance implores, "And the Oscar goes to........"
Beyond his performance is a riveting and eerie story directed with flawless craft and impressive restraint. It is a film that left me sitting and discussing its nuances and its depth, until the theater's lights flickered to oust me. The film surrounds the time when Capote wrote "In Cold Blood," a book nearly everyone read in the late 60's, its title seeming obvious. This latest movie inserts Capote into the original crimes that inspired "In Cold Blood" and challenges us to revisit that title.
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