Hey folks, Harry here with Massawyrm, who failed to warn us all about THE FOG. Instead his, "for the team," seems to be CAPOTE. How brave of him. Gosh - having to suffer through a brilliant performance by Philip Seymour Hoffman... dude, try getting through a Tom Welling performance. Fucking Pussy. Ahem. Ok, so I'm just a tad bitter about him seeing this at roughly the same time that I submitted to THE FOG... which I paid for. He saw this for free. Goddamnit! Here ya go...

Hola all. Massawyrm here. Well, it’s that time again, time for the studios and their indie houses to roll out the Oscar films. First up to bat this year is the quiet, melancholic Biopic Capote. This is the sophomore effort of Director Bennett Miller who first hit the indie scene in 1998 with his intriguing documentary The Cruise, a loving but cracked documentary of New York strange-ling bus tour operator Timothy ‘Speed’ Levitch. This time Bennett sets his lens to the true-life experiences of Truman Capote’s obsession with the case that would lead to both his masterpiece and his downfall.

Capote walks a thin line, managing to both capture the spirit of the flamboyant socialite Truman Capote that everyone familiar with him knows him as, while tempering it with a sense of just how pathetic and lonely Capote really may have been. Unfortunately Bennett presents very few of the facts of the case in question, which for Capote fans will be of no consequence, but for those unfamiliar with the history of the murders, there’s not really a lot to chew on. What’s left, however, is an enthralling character piece played out by some of the best, unsung character actors in the business. It is a movie punctuated by a profound sadness and thus a film that isn’t going to play for everybody – but for those who love a good Biopic or enjoy a focus upon truly inspired performances, Capote is one hell of a well-made film.

Philip Seymour Hoffman gives the performance that people are going to be singing about till Oscar time. It’s perfect, layered and simply a joy to watch. While I’m unconvinced that he’ll walk away with the gold just yet, he’s certainly one to put in the one’s to watch category for best actor this year. A riveting portrayal of the American Oscar Wilde, Hoffman’s Capote is more focused upon his obsession with the case and its convicts then it is his sexuality or the more sensational aspect of his literary betrayal of both his friends and the convicted murders who looked to him for help. But what really works in this telling of Capote’s history is the fact that Bennett and Hoffman do such a great job of showing the pathos that led to his betrayal. The Capote in this film is less of a caricature and more of a truly human, heavily flawed individual, somewhat apologist without ever really apologizing.

Backing up Hoffman is an amazing cast, with both Chris Cooper and Bruce Greenwood turning in wonderfully subtle, if slightly underused, performances. Both of these guys have a tremendous ability to bring a strong, very real presence to the screen and they both do so with a ‘top form’ flair. Catherine Keener is perfect as Nelle Harper Lee, getting much more to do and ultimately becomes the great sounding board for Hoffman to play off of. Bluntly honest to Capote, almost to a fault, Keener’s Lee serves to expose Capote for what he is, and gives us those moments where Capote realizes that for himself. But the real barnburner here is Clifton Collins Jr., one of those actors who just never gets enough play but always delivers stellar performances, especially when he’s given a fractured character to play. Here Collins is at his best, playing convicted murder Perry Smith, a brutal killer who turns to Truman Capote in hopes of receiving the help he needs to spare his own life. But as gentle and hopeful as Perry is, there is a darker, meaner, manipulative side that is slowly revealed as Capote is taken in and seemingly falls in love with the man. If there’s anyone in this film that deserves Oscar gold out of this, it’s Collins – his performance is eerie, moving and ultimately convincing – not simply convincing in the way that an actor wears the very skin of the person he’s portraying, but convincing in the way that you can actually see how Capote was ultimately taken in by this guy. You really want Capote to help this guy out, despite his history. Collins convinces you of the tragedy of his situation, despite there being none but justice prevailing to it. And it becomes the very soul of the film.

Unfortunately, Capote moves at a snails pace, and as Bennett lacks a truly original or fascinating visual style, the film drags at points, leaving only the performances to revel in. Fans of Truman Capote or of watching performances in and of themselves are going to delight in this film and the interesting way it unfolds. Those easily bored by slow moving Biopics are going to want to take a nap. Capote is a film very much for the indie-loving crowd and isn’t going to play to the Cineplex crowds very well. It seems this is the film that, come Oscar time, everyone will be talking about, but only a few will have seen. Very well made, just something that’s not for everyone.

Until next time friends, smoke ‘em if ya got ‘em. I know I will.

Massawyrm

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