The New Classics: Capote
Tuesday, May 19, 2020 at 1:00PM 
Michael Cusumano here to celebrate a film that is so much more than just another "based on a true story" prestige pic. I have noticed that Bennett Miller’s Capote is often shoved into the biopic genre in a way that diminishes the film’s achievements.
Lesser biopics bask in the glow of reflected importance coming off their subjects. Significance through osmosis. They value the flush of recognition over insight, and the accumulation of incident over meaning. Capote on the other hand is crafted with a stark, unwavering discipline. It has more in common with a portrait of artistic self-destruction like Black Swan than with Walk Hard inspirations like Ray...
The Scene: Movie Premiere
Take my favorite scene: A brief, late-in-the-film sojourn to the 1962 premiere of To Kill a Mockingbird. Right away, Capote resists the urge to fill the scene with a parade of celebrity reenactments. It must’ve been so tempting to cast someone as Gregory Peck so we can hear that deep, familiar voice. But then that would be a distraction from the point of the scene, which is the contrast between Nelle Harper Lee and Truman.
The scene is the payoff of a subplot about the publishing of Harper Lee’s To Kill a Mockingbird. Earlier when another writer asks about her children’s book about birds, we might worry Capote is headed for cheap historical irony territory, a Titanic “something Picasso” moment. It becomes clear, however, that Mockingbird is not mentioned for the cheap jolt of recognition, but as a counterpoint to Truman’s obsession with fame. Harper Lee flees from praise while Truman holds court with his admirers. As a result Nelle sees clearly while Truman is perpetually lost in a fog of his own ambition (and gin).
Everyone rightfully talks about Hoffman’s brilliance, but it should be equally noted how the direction and writer set the stage for his success. There is a reason this is one of the projects that allowed Hoffman to display the full extent of his talent, and it wasn’t just that he made a surprisingly convincing Capote, despite being no one’s first casting. Dan Futterman’s script is a marvel of economy. One of my favorite examples is early in the film when, after spending his first day in Kansas sticking out like a sore thumb, he greets Nelle in the hotel lobby dressed in an ordinary black suit and does a little “Happy now?” twirl. Without a word of dialogue we know everything about their relationship, the tension between her practicality and his flamboyance. The fact that the actors don’t have to wade through pages of lugubrious exposition frees them up to simply, fully embody these characters. On repeat viewings I find myself marveling at Keener’s performance as much as Hoffman’s. It’s a stunningly confident piece of acting. Like the film around her, she adds nothing for effect.
By the time the film reaches the premiere we know their dynamic so well we can read their slightest gesture or inflection. Nelle finds Capote bathed in green light at the bar, as if literally immersed in a gimlet. She patiently wades through his self-pitying monologue about trying to finish the book, simultaneously making not just her big night about himself, but also the impending execution of two men. He then fails to summon a single word of praise, managing only to mutter a bitchy “I frankly don’t see what all the fuss is about” (a Hoffman line-reading for the ages).
I frankly don’t see what all the fuss is about”
(a Hoffman line-reading for the ages).
The fact that he’s not merely being snidely dismissive, but snidely dismissive after seeing the world premiere of To Kill a Mockingbird is an example of using the audience’s historical perspective well.
Truman Capote’s life following the events of the movie is not a happy story, and without being heavy-handed, this brief conversation foreshadows the pickled, mean, and self-destructive man Capote would become after hollowing himself out in service of In Cold Blood: Another biographical film might have tacked on another hour, letting Hoffman go to town on the ravages of Capote’s decline. But we can see it all in this scene. We see his hunger for fame in the way Capote luxuriates in the flashbulbs on the red carpet. We see his soul-sickness in the way he stews in petty jealousy where at the start of the film he celebrated the publication of Lee’s book. Most of all we see his future in Keener’s eyes, in which she betrays not a flicker of disappointment or offense at Truman’s insult. She expected nothing better. Rather she extends a sympathetic pat on the back. She knows no insult he can dispense can match the abuse he’s going to inflict on himself.
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Reader Comments (22)
I like this movie very much. My main problem is the existence of Infamous. It covers the exact same ground and is so similar and also excellent. So I always wonder if I had seen the films in reverse order whether I would consider Infamous the real deal and Capote the second also-ran, and value Toby Jones' excellent performance as the model with Philip Seymour Hoffman a close second. I really don't know.
Wonderful article on one of my favourites of 2005 - Hoffman is my winner and while she may not make my Top 10 (Supporting Actress is SO STRONG that year) I don’t begrudge Keener’s nomination - she’s great... in fact, I always think that Clifton Collins Jr was very unlucky not to coast that same wave through awards season...
One more year down with at least one film covered. 5 eligible years to go. 2000, 2002, 2006, 2015 (no, I'm not counting The Witch as 2015. If it didn't show up outside a festival, that's not the release year), 2018.
Clifton Collins Jr. should have been nominated and won that Oscar. There is a savagery behind those sad eyes that just haunt the entire movie.
I'm sorry but Catherine Keener did not deserve a nomination for this movie. She barely gives anything to the story or the performance. Sandra Bullock was way better in INFAMOUS and would have deserved an Oscar nod more. There were so many more candidates that could have been in that 2005 roster for Supporting Actress.
Hoffman is great but Ledger is iconic in BBM,I don't like that word but he truly is,holding onto that shirt.
Keener is underplaying and is more real and natural fo it,I know some say she does nothing but it's not all about Steigering about,she has great chemistry and I love the party scene,she says so much yet so little.
Co sign re Collins Jr.
I love this movie. Great write up, Michael!
Keener is so wonderful in Capote. A true supporting performance, but that year (2005) was an embarrassment of riches in the category. As a Weisz acolyte, I’m happy to say most agree she also was deserving that year, but I wouldn’t have thrown too big a fit had Keener won instead, or, of course, Adams. Or even Williams! They’re all such gorgeous embodiments of women circling a larger force (though for Adams, her role makes her to be that force in a way).
I liked Capote, the film. I didn’t think it extraordinary, but I agree that the screenplay is superbly economical and virtuous in how much it is showing in lieu of telling its audience.
The Leading Actor Oscar was Ledger’s, hands down. I firmly believe it’s a much harder task to build a character from fictional roots than to try and embody a character embedded into historical reality. Ledger and Hoffman, though, gave greatest-of performances.
I’m glad, too, that they both departed having been honored for roles that defined a part of them that made them such brilliant and often underrated performers.
These articles are so great and so often eloquently written! Keep ‘em coming!
Infamous was the stronger film, IMHO. But I always love reading your thoughts, Michael. Really enjoying this series. :)
Keener's Harper is like a living, breathing side-eye. A perfect performance and one of my favorite nominations.
I MISS PSH SO MUCH!
Glad he had an Oscar for this.
I still am perplexed by Keener's nom, but good for her.
This is the stronger film, but I will say I prefer Bullock's Harper Lee to Keener's. I think they're both really good, maybe it's just because Bullock is given just a little bit more to do. As good as Infamous actually is (its unfortunate timing shouldn't have led to its complete dismissal), there's not a better scene in than that magnificent opening with Gwyneth Paltrow. It's like a perfect short film. Everything after that is basically up for direct comparison, and Capote really does set itself apart. So sad and chilly, and it's just masterful how it builds up in telling the unfortunate story we all know. Even knowing it was coming, nothing prepared for the shock of the cut right after Clifton Collins talks about looking down and thinking this was a good man. I totally bought how great sympathy/empathy could get washed away in an instant when the cruel truth comes out, and how that ended up breaking someone. Great stuff. Great set of nominees that year as well, except one. You'll never guess which one I'm talking about... it's Crash. It always is...
Hoffman is good -but the movie is over rated. "Infamous" is much more fun and deals honestly with Truman's homosexuality. In "Capote" he might as well be straight
This is a nice appreciation, but personally I've always much preferred Infamous and Toby Jones (and would probably have been a Strathairn voter when it came to Best Actor).
Michael, such a great write-up that you almost made me forget how much I don't like this movie! I find it to be curiously distanced and not involving. Technically well-made, but it has ZERO gay sensibility...agree with Jaragon that PSH's Capote might as well be straight. And I also think Ledger should have won the Oscar that year for one of the best performances of all time.
But lovely article, as always.
Hoffman is terrific in this film. He deserved every awards he won, just outstanding!
Nice to revisit Capote, but I think the film is solid but a bit ponderous. Hoffman is OK but I can see the acting. I haven't seen Infamous but I've heard good things about it. He's much better in many other films.
I haven't seen Hustle & Flow yet but of the other nominees, my pick is Joaquin Phoenix. His Johnny Cash is a loose but controlled performance, charming and full of emotion. Just beautiful work.
I think A History of Violence and Match Point were underrated that year and deserved many more nominations than they received.
Hoffman worst performance
It's been ages since I've seen this movie, so I need to give it another go. Excellent write-up!
I agree with Eric - there is an emotional detachment in this film, while obviously intentioned by the filmmaker, really failed to draw me in to the story. This is the perfect example of a movie that I admired, but could never truly love. I thought Bennett Miller was much more successful with Foxcatcher, which has a similar aesthetic but the directorial detachment in that film really highlights the themes of male intimacy and masculinity much more effectively.
I also still remain perplexed by Catherine Keener's nomination. Like I said, it's been forever since I've seen the film, but at the time I thought the script seemed entirely uninterested in her and she had nothing to do. A total coattails nomination. I think Scarlett Johansson in Match Point or Maria Bello in A History of Violence would've been worthier nominees.
Infamous is actually quite entertaining (moreso than its predecessor) and Toby Jones is excellent!! I find his mannerism and portrayal to be a more accurate Capote than PSH, actually
The main issue is its timing. It has the most unfortunate timing to be released a year AFTER the critically acclaimed Capote, and a good six month after PSH swept all the Best Actor accolades!!
Of cos, the critics and movie fans r gonna unfairly shred it to pieces!! "How Dare You"!!! lol.
If I'm the studio head or director, after Capote had stole ALL the thunder, I'd wisely sold it to a TV network. Who knows, it might have picked up a couple of EMMYs?!
Infamous takes a gamble and it loses.
Makes one wonder had Infamous been released before or in the same year as Capote, wld the reception be different?? wld PSH have swept the award circuit so easily??
Re: Catherine Keener. Beside Capote, she has other two high profile supporting roles in 2005. She was cited by many critics for Capote, The 40 Years Old Virgin & The Ballad of Jack & Rose. So she wasn't such a long shot as many thot. Her nom for Capote came about as it is deemed to be a more award-friendly, prestige film.
I saw this film in 2006 and I didn't liked at all.
I decided to watch again yesterday and... A masterpiece! Absolutely outstanding!
Deserves all the awards (Ledger is may favorite that year, but, what a year for almost everything!*)!!! PSH is outstanding!!! Loved loved loved!!
*My ballots that year
Best picture
Brokeback Mountain
A History of Violence
Munich
Match Point
King Kong (Capote would be my #6)
Director
Ang Lee
David Cronenberg
Steven Spielberg
Woody Allen
Peter Jackson
Actor
Ledger
PSH
Eric Bana
Viggo Mortensen
Ralph Fiennes
(Deserved to be here, too: Matthew McFadden or John Rhys Meyers or Joaquin Phoenix)
Actress
Naomi Watts
Maria Bello
Felicity Hoffman
Keira Knightley
Reese Whiterspoon
Supporting Actor
Jake Gylemhall
Jack Black (King Kong)
Daniel Craig or Ciaran Hinds (Munich)
Clifton Collins Jr
William Hurt
Supporting actress
Rachel Weisz
Amy Adams
Scarlett Johansson
Lynn Cohen (Munich)
Michelle Williams
International Film
L'Enfant (Dardenne Brothers)
Cachè (Haneke)
Paradise Now
Joyeux Noel
The death of Mr Lazarescu
My nominations for 2005 are:
Best Picture
BROKEBACK MOUNTAIN
CRASH
HEIGHTS
JUNEBUG
NOVEMBER
WALK THE LINE
MEMOIRS OF A GEISHA
KING KONG
SIN CITY
CURSED
Best Director
David Cronenberg - A HISTORY OF VIOLENCE
Paul Haggis - CRASH
Peter Jackson - KING KONG
Ang Lee - BROKEBACK MOUNTAIN
Chris Terrio - HEIGHTS
Best Actor in a Leading Role
Steve Carell - THE 40-YEAR OLD VIRGIN
Jake Gyllenhaal - BROKEBACK MOUNTAIN
Philip Seymour Hoffman - CAPOTE
Heath Ledger - BROKEBACK MOUNTAIN
Joaquin Phoenix - WALK THE LINE
Best Actress in a Leading Role
Elizabeth Banks - HEIGHTS
Courteney Cox - NOVEMBER
Keira Knightley - PRIDE & PREJUDICE
Christina Ricci - PROZAC NATION
Reese Witherspoon - WALK THE LINE
Best Actor in a Supporting Role
Jesse Bradford - HEIGHTS
Matt Dillon - CRASH
Paul Giamatti - CINDERELLA MAN
James Marsden - HEIGHTS
Donald Sutherland - PRIDE & PREJUDICE
Best Actress in a Supporting Role
Amy Adams - JUNEBUG
Rosario Dawson - RENT
Lisa Kudrow - HAPPY ENDINGS
Gong Li - MEMOIRS OF A GEISHA
Thandie Newton - CRASH