By: debbie lynn elias
Forget everything you know or think you know about Truman Capote. Forget about everything you know or think you know based on 2005’s “Capote” and Philip Seymour Hoffman’s Oscar winning performance of the title role. Forget everything you know or think you know about New York high society of the 60’s. Forget everything you know or think you know about “In Cold Blood.” And then, hold onto your hats because you are about to find out what it truly means to be INFAMOUS.
Writer-director Douglas McGrath spins your head and turns the tables on one of the most infamous crimes of our generation as well as some of most infamous personalities of the day with this biopic on “In Cold Blood” author, Truman Capote. Following the footsteps of Capote during the creation of perhaps his most famous work, we are privy to both the glitz and glamour of New York high society, as well as the grit and grotesqueness of the crime, its victims, its perpetrators and the psychological journey of Capote as the two worlds collide.
Spying a brief news snippet in the New York paper about an execution style murder of a Kansas family, Capote is intrigued and determines to write an in-depth article on the heinous crime. Known for his flamboyance and tendency for embellishment when regaling escapades and adventures, he calls upon his closest friend Nell Harper Lee to assist him in his factual quest. The antithesis of Truman, Plain-Jane Nell left law school just weeks before graduation. Best friends since childhood, they know each other’s most intimate secrets and vulnerabilities. Having just finished her first novel, “To Kill A Mockingbird”, Nell does have time on her hands and although not really that enthused about Truman’s project, she cannot turn her back on her friend and agrees to accompany him to Kansas to assist him in his “research.”
As soon as the train pulls from the “station” leaving Nell and Truman in Kansas, we see the dichotomy as two worlds begin to collide. Initially ignored at every turn by everyone, and particularly Kansas Bureau of Investigation Director Alvin Dewey who is heading the investigation of the Clutter family massacre, the differences between the two worlds are starkly apparent. Truly a fish out of water, Truman asks for messages at the local hotel and nonchalantly regales the names of his callers as everyone from Princess Margaret to his New York “swans” Babe Paley, Slim Keith and Diana Vreeland to author-editor Bennett Cerf, while a quest for cheese in the local grocery store produces nothing but Velveeta. Ultimately, however, it is Nell who aids Truman in breaking the ice with some very sage advice – connect with the locals by showing your similarities not flaunting your differences. While a seemingly impossible task for Truman, he nevertheless listens to Nell and on Christmas Day on invitation by Mrs. Dewey, the tables start to turn. On his homeiest and heartfelt best behavior, Truman wows the Deweys with his tales of New York night life but then endears himself to them with a sincere interest in their life and keen complimentary observation of the little things that are so previous to everyone whether New York high society or a Kansas law man.
Embraced by the Deweys, it’s not long before the rest of the community follows in their footsteps and Truman, in his own inimitable style, is soon the toast of the town. But the situation really takes a turn when the killers are captured. Crushed amid the throng of reporters and lookee-loos, Truman and Nelle force their way to the forefront as Perry Smith and Dick Hickock are taken into custody and in one fleeting moment Truman and Smith make eye contact, creating a bond that will last beyond a lifetime. With a renewed sense of purpose, Truman determines to turn his article into a book and in that moment, a new chapter begins for all concerned.
Now privy to the most intimate details of the investigation, Truman sees what others do not see – especially when it comes to Perry Smith. His natural inquisitiveness and almost instantaneous bond with Smith pushes him onward as he vows to tell their stories that led up to that fateful night at the Clutter household and beyond. Developing an intense friendship with Smith, the raw emotion that takes hold for the rest of the film is captivating, gut-wrenching, and overpowering.
Toby Jones takes on the daunting task of portraying Truman Capote and let me just say, as good as Philip Seymour Hoffman was in 2005’s “Capote”, Toby Jones puts that Oscar winning performance to shame. Jones is transcendently flawless. Don’t let his diminutive frame fool you. His shoulders are so broad as to carry this film and he does so with visibly intoxicating joy, sadness, intensity, intelligence and integrity. He doesn’t pander to myths about Capote and brings such a multi-textured, multi-layered and nuanced emotional depth to the role that his pitch perfect physical embodiment of the character takes a backseat. And Sandra Bullock should finally garner an Oscar nomination with her portrayal of Nelle Harper Lee. A supporting role to Jones’ Capote, her Nell is force to be reckoned with. Having met the reclusive author once myself, I am more than impressed with Bullock’s understated performance. From the distinctive accent to down home graciousness and fastidious attention to personal detail, her Nelle is impeccable and an excellent balance to Jones’ Capote. The chemistry between she and Jones is riveting yet fun. They truly connect and reflect that lifelong bond between Capote and Lee.
One of the most dynamic and emotionally charged performances come from our new 007, Daniel Craig who here becomes convicted killer Perry Smith. If this role doesn’t score him an Oscar nod, there is no justice in the Academy. Riveting. A steely eyed veneer that slowly erodes as his relationship with Capote develops. Sympathetic. Empathetic. And again, a masterful intensity. And as for Daniel Craig and Toby Jones, their prison scenes, and even a one shot on the steps of the police station with just a passing stare between the two prior to their actual meeting, gives me goosebumps .
And what of Jeff Daniels’ Alvin Dewey? Again, superb casting choice. While I believe that Daniels gave Dewey a more light-hearted touch than the man had in real life, it is effective and goes far in memorializing the relationship between Capote and Dewey. In life, Capote referred to the Dewey family as “precious ones” and “honey hearts” and Daniels’ performance here and his rapport with Jones’ Capote makes their ultimate friendship and mutual admiration clear. Other key supporting performances come from Peter Bogdanovich as Bennett Cerf, Gwyneth Paltrow as sultry singer Kitty Dean (clearly based on Peggy Lee) and Isabella Rossellini as socialite Marella Agnelli. One of the biggest casting coups with a tinge of irony though comes with Sigourney Weaver. Daughter of NBC CEO Pat Weaver, she is cast as Babe Paley, wife of William Paley who founded CBS. And as comes as no surprise is, she is impeccable. But the real joy is Juliet Stevenson as the pretentious, overly-exaggerated Diana Vreeland. Campy and entertaining to a fault. All I can say is Oscar, Oscar, Oscar!!
Doug McGrath, as both writer and director, does a phenomenal job – witty and dark, and always glamorous and gritty. The film unfolds as a rich exploration into the psyche and society through the eyes of Capote and those around him. The visuals are beyond reproach as is the production design – especially the NY scenes – and go far to help establish time, space and attitude thanks to production designer Judy Becker. Becker leaves no stone unturned in establishing authenticity – be it in Vreeland’s palatial and ornate NY penthouse or the Dewey’s homespun Kansas home. Interlacing effective storytelling with direct-to-camera interviews from some of the major players, McGrath provides a strong connection to the audience. Flashbacks are also effectively used in connection with the night of the murders and Smith’s childhood.
McGrath captures a humanity that “Capote” was sorely lacking…and it’s one that is accessible and connectable with everyone. America has always been fascinated with celebrity, Fifth Avenue and the “upper crust money.” McGrath’s spin on NY high society with the likes of Bennett Cerf, Paley and Vreeland just fills the gossipy void in each of us. The key to what makes this film such a standout, however, is his juxtapositioning of Capote’s flamboyance with the down home gosh-darned Kansas families followed by Capote’s transformation and ability to “humanize” himself and connect with the average Joe. There’s not a person around that won’t be sitting in the theater thinking, “See, I’m not the only one.” The film embraces the eccentricities in each of us and in life as a whole, and truly touches on society and on the humanity in each of us. There is a permeating truth and brutal honesty that provides a truly unique perspective to some fascinating events and even more fascinating people.
One of my picks as a MUST SEE FILM OF THE YEAR, destined for Oscar gold, INFAMOUS is glorious.
Truman Capote: Toby Jones
Nelle Harper Lee: Sandra Bullock
Perry Smith: Daniel Craig
Dick Hickock: Lee Pace
Alvin Dewey: Jeff Daniels
Written and directed by Douglas McGrath based on the book by George Plimpton. Rated R. (110 min)
