Movie Review: "Capote" (2005)

If you would like to see a different, less formal review of this film then please refer to the one I wrote five years' ago here

Bennett Miller’s Capote (2005) is a remarkable exploration of the creative process and moral complexities behind the writing of Truman Capote’s groundbreaking non-fiction novel, In Cold Blood. The film stands out for its exceptional performances, meticulous set design, and a deeply engaging narrative that delves into the personal and ethical struggles of its protagonist. With its haunting atmosphere and thought-provoking storytelling, Capote is a cinematic triumph that leaves a lasting impression.

At the heart of the film is Philip Seymour Hoffman’s extraordinary portrayal of Truman Capote. Hoffman’s performance is transformative, capturing not only Capote’s distinctive voice and mannerisms but also the complexities of his character. He portrays the author as a man of immense talent and ambition, whose charm and wit mask a deeply manipulative and self-serving nature. Hoffman’s ability to convey vulnerability and arrogance in equal measure is astounding, and his performance anchors the film, earning him a well-deserved Academy Award.

Equally noteworthy are the supporting performances, which add depth and texture to the film. Catherine Keener delivers a nuanced performance as Harper Lee, Capote’s childhood friend and confidante. Keener’s portrayal is understated yet powerful, providing a moral counterpoint to Capote’s questionable actions. Her presence grounds the story, offering moments of quiet reflection amidst the emotional intensity. Clifton Collins Jr., as Perry Smith, gives a haunting performance as the convicted murderer who becomes the focal point of Capote’s book. Collins creates the character of Perry with a tragic humanity, creating a complex and sympathetic character despite his horrific crimes.

The film’s set design and cinematography are equally impressive, transporting the audience to the stark landscapes of 1950s Kansas and the sophisticated literary circles of New York City. The contrast between these settings underscores the central tension of the story—the collision between Capote’s glamorous world and the harsh reality of the crimes he investigates. The re-creation of Holcomb, Kansas, is striking, capturing the desolation and unease of the small town in the aftermath of the Clutter family murders. Every detail, from the modest interiors of the townsfolk’s homes to the sterile environment of the prison, is rendered with meticulous authenticity.

The New York scenes, by contrast, present opulence and sophistication, reflecting Capote’s status as a literary celebrity. The design brilliantly captures the era, with period-accurate costumes, furnishings, and props that immerse the viewer in the 1950s. The attention to detail extends to the film’s muted colour palette, which enhances the sombre and reflective tone of the narrative. The interplay of light and shadow is masterfully used, adding to the film’s visual and emotional impact. This meticulous design work not only enriches the film’s atmosphere but also serves as a subtle commentary on the moral and emotional divides within the story.

Dan Futterman’s screenplay is incisive and restrained, allowing the story to unfold with quiet intensity. The dialogue is sharp and revealing, providing insight into the characters’ motivations and conflicts. Capote’s wit and charm are juxtaposed with moments of raw vulnerability, creating a portrait of a man who is both brilliant and deeply flawed. The film’s pacing is deliberate, building tension as the execution of Perry Smith and his accomplice Dick Hickock looms closer. This slow build mirrors Capote’s growing obsession with the case and his increasing emotional turmoil.

This is similar to Bennett Miller’s direction which is subtle yet effective, allowing the performances and narrative to take centre stage. He avoids sensationalism, focusing instead on the psychological and emotional aspects of the story. The result is a film that is both intellectually engaging and emotionally resonant. Miller’s restrained approach ensures that the story’s moral questions remain at the forefront, leaving a profound impact on the viewer. After over a decade of rewatching the film, this is still one of the most incredible things about the film - it refuses to sensationalise the work of a man who, in all of his other works, was a sensation.

In conclusion, Capote is a masterfully crafted film that excels in every aspect of its production. From Philip Seymour Hoffman’s career-defining performance to its evocative set design and compelling narrative, the film offers a rich and immersive experience. It is an important exploration of the creative process and the ethical complexities that often accompany it, leaving the audience with much to ponder after viewing. For those who appreciate character-driven dramas and thought-provoking storytelling, Capote is an essential experience for anyone who wants to see how a real biopic is done.