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Capote
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Directed by Bennett Miller
The creation of one of the most memorable books of the 1960s -- and the impact the writing and research would have on its author -- is explored in this drama based on a true story. In 1959, Truman Capote (played by Philip Seymour Hoffman) was a critically acclaimed novelist who had earned a small degree of celebrity for his work when he read a short newspaper item about a multiple murder in a small Kansas town. For some reason, the story fascinated Capote, and he asked William Shawn (Bob Balaban), his editor at The New Yorker, to let him write a piece about the case. Capote had long believed that in the right hands, a true story could be molded into a tale as compelling as any fiction, and he believed this event, in which the brutal and unimaginable was visited upon a community where it was least expected, could be just the right material. Capote traveled to Kansas with his close friend Harper Lee (Catherine Keener), herself becoming a major literary figure with the success of To Kill a Mockingbird, and while Capote's effete and mannered personal style stuck out like a sore thumb in Kansas, in time he gained the trust of Alvin Dewey (Chris Cooper), the Kansas Bureau of Investigation agent investigating the murder of the Clutter family, and with his help Capote's magazine piece grew into a full-length book. Capote also became familiar with the petty criminals who killed the Clutter family, Dick Hickock (Mark Pellegrino) and Perry Smith (Clifton Collins Jr.), and in Smith he found a troubling kindred spirit more like himself than he wanted to admit. After attaining a sort of friendship with Smith under the assumption that the man would be executed before the book was ever published, Capote finds himself forced to directly confront the moral implications of his actions with regards to both his role in the man's death, and the way that he would be remembered. Capote also co-stars Bruce Greenwood as Capote's longtime companion Jack Dunphy, and Amy Ryan as Mary Dewey, Alvin's wife who became a confidante of Capote's. ~ Mark Deming, All Movie Guide
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hautecritiquehautecritique Double Feature – Mall Cop Edition
by hautecritique in The Haute Critique on Spout
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"Hollywood likes to work in pairs. Baz Luhrman had to cancel his Alexander the Great movie because Oliver Stone beat him to production. A couple of years ago there were two Truman Capote biopics. I’m sure if your search your subconscious, you’ll remember " [More]
SpoutBlogSpoutBlog 10 Documentaries Hollywood Shou ...
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"It was shut out of the Oscar race for Best Documentary Feature, but [More]
SpoutBlogSpoutBlog 10 Movies That Came Out Too Late
by SpoutBlog in SpoutBlog on spout.com
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"Earlier this year, I thought that it was way too late for a Sex and the City movie. But then it made a ton of cash, so I guess I was wrong. Still, I’m going to continue sim " [More]
Ravie13Ravie13 Hey where's the gay?
by Ravie13 in Ravie13 Blog
lost interest.
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"I saw and loved INFAMOUS but reserved my final judgement until I finally watched CAPOTE. Capote was good... but it is UNFAIR UNFAIR UNFAIR. INFAMOUS is ten times the movie Capote was! I watched Infamous and it was on my mind for days... it was so touching... it had so much heart and love. Capote was an empty shell. Capote hinted at love while Infamous showed you why we should love Truman, why we should love Nell Harper Lee and why we should feel heartbroken when Per " [More]
SpoutBlogSpoutBlog FilmCouch #83: Tropic Thunder p ...
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"Tropic Thunder is taking heavy fire, not for Robert Downey Jr.’s blackface performance, but rather for Ben Stiller’s spoof movie-within-a-movie, Simple Jack. Is this a case of political correctness gone too " [More]
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RisseladaRisselada Re: Unlikely Double Features
by Risselada in Double Feature
"Ha, very nice Kevin.I think the movie Grindhouse was a double feature, because my impression was the double features generally were more suited for grindhouse type movies. Or at least movies movies that were more on the action end of the spectrum as opposed to drama.But pretty interesting to have an art movie style double feature. I think the difficult thing about that is that movies like this usually leave you thinking afterwards and if you saw two of them it might " [More]
honeysucklehoneysuckle Movies based (some very loosely ...
by honeysuckle in CinLit
"Shadowlands (C.S. Lewis)Heart Beat (Jack Kerouac et al)Sylvia (Plath)Shakespeare in LoveMrs. Park " [More]
paulpaul Re: Capote vs Infamous
by paul in Telluride Film Festival 2008
"I too have not seen Capote. Isn't that funny? Big Oscar winner versus little brother late to the party and we choose the little guy. Here's what I heard from someone who'd seen both.Infamous suggests a different nuance to the relationship between Capote and Perry. From what I hear, it does a better job of showing how Perry and Truman dismantle each other's facades they've const " [More]
All Movie Guide Logo
Review by All Movie Guide
All Movie Guide
liked it.
Capote is spellbinding and awe-striking, an almost perfect film. This accomplishment is even more remarkable when you take into account that this is director Bennett Miller's first feature, producer/writer Dan Futterman's first film, and that it's adapted from Gerald Clarke's first full-length biography. The craftsmanship apparent in Capote is clever and quick, creating scenes that are sometimes bizarre or funny, but never heavy-handed. Without plodding speeches or Oscar-bait tantrums, Capote weaves together a hauntingly realistic portrait of the charismatic and the grotesque. The movie isn't about the slaying of a family in Kansas, and it's not about Perry Smith, the convicted killer in the case -- whom Capote became so famously close to while writing his book. When it comes right down to it, Capote isn't even really about the writing of that book -- though the bizarre process of it is detailed almost completely. The story of the film is eerily captivating, but in the end, its narratives are just the pieces that eventually come together to form an almost impossibly intimate psychological portrait of Truman Capote the man. Capote sheds a gradually overwhelming light on its subject, revealing with a quiet intensity how a man of such superhuman charm and skill could in fact be so crippled by a near sociopathic narcissism. The minimal awareness portrayed in Capote's character make him all the more intriguing and compelling, even as his power over another man's life ripples distantly in his consciousness as little more than a component of his success as a writer. This heartbreakingly real performance is what makes the film such a masterpiece, and denotes perhaps the most breathtaking turn in the film -- Philip Seymour Hoffman's. While Hoffman is far from a new face and has enjoyed a highly respected career in a multitude of films, a role of this magnitude is a first for him; the kind it's instantly certain that he will be remembered for. As a profile of the character's inner life, the aforementioned production team behind Capote most certainly pursued the project with the knowledge that it would fail without such a perfect fit. As a result, even Hoffman's tremendous success can be seen as a component in the synergy that made this one of the best films in years. ~ Cammila Albertson, All Movie Guide
 

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