Capote

2005′s Capote takes a look at Truman Capote during the period of time in his life in which he was composing In Cold Blood, the masterpiece true crime book. Truman Capote is played by Philip Seymour Hoffman, who won the Academy Award for Best Actor for this film. Hoffman also picked up the Golden Globe for Best Actor in a Drama and a slew of other awards and critical accolades for his transformation into the famous writer.

Directed by Bennett Miller, Capote is not a biopic but rather a snapshot into a vital period in Capote’s life. Miller, a relative unknown, evenly textures his film with a dank and dreary mood with sweeping shots of Manitoba doubling as Kansas in the fall. The trees stand as stark reminders of the horrific crime Capote is writing about and reflect an eerie fascination with the criminals that Capote develops. Miller does great work easing the story around with the visuals, creating a clear vision of Kansas and the crime without showing off.

Hoffman, needless to say, is incredible as Truman Capote. It is pure emulation at its finest, down to the movements and the pitch-perfect voice of the writer. Hoffman meshes emulation with a subtle tone, bringing about little sympathy for Capote and increasing a sense of absurd detachment as the film carries on. Hoffman’s performance is almost a flaw in this regard because it also disconnects the audience somewhat, leaving them to wonder what Capote is thinking or processing about his own actions.

Nonetheless, the detachment is often necessary because of the bleakness of the subject matter. We are watching a man on his way to his decline as a writer and as a person. Hoffman brings that energy to the audience by lowering the volume and increasing the tone, deliciously mixing Capote’s dry wit with a slightly depressing modulation. The result is a film that balances entirely on its star and its background.

Unfortunately, the rest slightly drags. Hoffman is so involved as Capote that it seems that the remainder of the cast has nothing to do. There is no sympathy for the criminals or for the victims of the crime and, while that isn’t the focal point of the story at all, it would be nice to have a tapestry that was rich enough to look beyond the brilliance of its lead actor. Instead, Capote feels merely like a showcase for Hoffman’s performance and the remainder serves as a backdrop. That notion may, however, be more of a reflection on Truman Capote’s life than anyone ever intended.

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