Comparions to Hoffman's Capote are inevitable given the proximity of the two releases as well as the fact the two films deal with exactly the same subject. "Capote" painted broader strokes while "Infamous" was somewhat more specific. Lastly, Toby Jones was simply overshadowed by the more popular, Phillip Seymour Hoffman,
I vividly remember Truman Capote on the TV talk-show circuit and Toby captured the same deliberately profound annoyance that Capote seemed to wallow in. I read "In Cold Blood" in high school and it was indeed an excellent book -quite well-written, though chilling in its subject matter as well as the treatment. But as a personality, Truman was a most uncomfortable sight - I readily admit that my being a black, gay teenager certainly colored (no pun intended) my perceptions. Tennesse Williams & James Baldwin, both gay literary contemporaries of Capote were equally uncomfortable, (and equally talented/troubled).
"Infamous" deals most intimately with Capote's relationship with Perry while researching and writing "In Cold Blood". Their performances are at the core of the movie. Jones & Craig give wrenching performances giving the implications the movie makes enormous credibility. Sandra Bullock as Harper Lee, the author of 'To Kill A Mockingbird" (another classic) is simply wonderful. Quite frankly, it is some of the best work I have ever seen from her.
Even more interesting is that this particular perspective of the machinations behind the famous novel still take a back seat to a much more intimate situation lots of people find themselves in but that is rarely so beautifully addressed.
It is this aspect of the movie that made the biggest impression upon me.
In the beginning, it is obvious Capote is totally opportunistic in his quest to actually interview one of the killers. His book is his focal point. The film wonderfully suggests that Capote was just as shocked (and pleased) to realize he cared deeply for Perry - and Perry for him. And this was not an easy road for either to travel. More importantly, the evolution of their relationship was not based on their sexuality.
This is a classic example of individual instances (quite common) where a gay/lesbian person forges a close relationship with someone straight - both sides initially having serious apprehensions about the other, only to have this complicated with genuine feelings developing on both sides. The inevitable result is that neither side knows quite how to deal with those genuine feelings. After wading through all the mud, the lesson learned is that two people, if they allow themselves to, can forget race, color, age, economics, gender, or any other useless category and simply allow themselves to genuinely care about each other. (yeah, it went there for me)
I mean to take nothing away from Hoffman's "Capote". Both films provide insight; they present two alternative perspectives and I highly recommend both projects.
It is simply that as an art form 'Infamous" more closely meets the general objective I believe all art forms aspire to - to open/elevate the dialogue.
I vividly remember Truman Capote on the TV talk-show circuit and Toby captured the same deliberately profound annoyance that Capote seemed to wallow in. I read "In Cold Blood" in high school and it was indeed an excellent book -quite well-written, though chilling in its subject matter as well as the treatment. But as a personality, Truman was a most uncomfortable sight - I readily admit that my being a black, gay teenager certainly colored (no pun intended) my perceptions. Tennesse Williams & James Baldwin, both gay literary contemporaries of Capote were equally uncomfortable, (and equally talented/troubled).
"Infamous" deals most intimately with Capote's relationship with Perry while researching and writing "In Cold Blood". Their performances are at the core of the movie. Jones & Craig give wrenching performances giving the implications the movie makes enormous credibility. Sandra Bullock as Harper Lee, the author of 'To Kill A Mockingbird" (another classic) is simply wonderful. Quite frankly, it is some of the best work I have ever seen from her.
Even more interesting is that this particular perspective of the machinations behind the famous novel still take a back seat to a much more intimate situation lots of people find themselves in but that is rarely so beautifully addressed.
It is this aspect of the movie that made the biggest impression upon me.
In the beginning, it is obvious Capote is totally opportunistic in his quest to actually interview one of the killers. His book is his focal point. The film wonderfully suggests that Capote was just as shocked (and pleased) to realize he cared deeply for Perry - and Perry for him. And this was not an easy road for either to travel. More importantly, the evolution of their relationship was not based on their sexuality.
This is a classic example of individual instances (quite common) where a gay/lesbian person forges a close relationship with someone straight - both sides initially having serious apprehensions about the other, only to have this complicated with genuine feelings developing on both sides. The inevitable result is that neither side knows quite how to deal with those genuine feelings. After wading through all the mud, the lesson learned is that two people, if they allow themselves to, can forget race, color, age, economics, gender, or any other useless category and simply allow themselves to genuinely care about each other. (yeah, it went there for me)
I mean to take nothing away from Hoffman's "Capote". Both films provide insight; they present two alternative perspectives and I highly recommend both projects.
It is simply that as an art form 'Infamous" more closely meets the general objective I believe all art forms aspire to - to open/elevate the dialogue.