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 | Capote Director: Bennett Miller Rated: M Palace Nova  The murder of the Clutter family in Hokam, Kansas on 15th November 1959 changed that state forever. However when Truman Capote read about the murder and decided that "that's what [he] want to write about", the world - and the world of writing in particular - also changed irrevocably. Capote the journalist infiltrated the town, victims, police and eventually the perpetrators, and got the story. Capote the artist then converted the story into the world's first 'non-fiction novel' - 'In Cold Blood'. That benchmark was followed by Richard Brooks' classic film starring Scott Wilson and Robert Blake (who allegedly murdered his wife - there's irony) as the killers.Bennett Miller's 'Capote' inverts the novel and turns the spotlight upon its creator. Beginning with the discovery of the bodies, the film moves on to New York where Capote (Philip Seymour Hoffman) is the glitterati's premier raconteur and bon vivant, basking in the success of 'Breakfast At Tiffanys'. Capote is determined that his next project will be revolutionary. When he happens upon the murder, Capote is inspired and pursues the story like a bloodhound. Arriving in Kansas with his close friend Harper Lee (Catherine Keener), Capote looks like ET with a Park Avenue makeover. However he swiftly courts the key players, even lifting coffin-lids in order to inspect the corpses. When the killers - Perry Smith (Clifton Collins Jnr) and Dick Hickock (Mark Pellegrino) - are tried and sentenced to death, Capote ingratiates himself ruthlessly with Smith in particular whom he sees (or casts in the role) of kindred freak, "I want to restore Perry to the realm of humanity" as "we both grew up in the same house, Perry went out the back door; I went out the front". Fearful that his subjects will be executed before he has gathered all of his information, Capote funds the pair's legal appeals. When he manipulates Smith into telling the story of the day of the murder itself and the story to date is complete, Capote casts the men aside. However as the appeals continue, Capote is denied the ending his story needs. Eventually, he finds himself in his own agonizing wait for sweet release and descends into melancholic alcoholism in the process. The film is incisive, provocative and a triumph for debut director Bennett Miller. The screenplay - adapted by Dan Futterman from a section of Gerald Clarke's biography of the author - is flawless. Cinematographer Adam Kimmel's sombre hues complement the equally dark material. Hoffman is hypnotic in the title role and the performance is worthy of the rapturous applause that it has received. Hoffman's characterisation of Capote is mannered and unnervingly precise, but he also imbues it with depth and subtle emotional shifts. His final moments with Smith and Hickock are as good as screen acting gets. When the day of execution arrives, Capote is compelled to visit his own artistic casualties in their final hours. As he stands before the murderers as they in turn sit at a bench, it's as if Capote is the accused awaiting judgment for his narcissism. Ironically the execution of the men led to the execution of the artist, for Capote never completed another work. In this era of top rating reality and fictional television focusing on crime and the 'celebritisation' of serial killers, the film is a cautionary tale and prophecy. As Capote himself said, "it's answered prayers rather than unanswered prayers that lead to sorrow".  | |
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