Film Review: Capote


Capote (2005; Directed by Bennett Miller)

Early in Bennett Miller’s masterfully composed, extremely haunting, but oddly unimaginative Capote, a juxtaposition of visual composition serves to establish a central binary opposition of American society. At a lonely farm house in rural Kansas in the 1950s, the four bodies of the Clutter family are found by a friend. Stark vistas of empty space open around the habitation, fields, sky, and horizon isolating the scene of a soon-to-be-infamous crime like the rural life isolates those who live it, imbuing their consciousness with a hermit ideology. But then Miller cuts to the cluttered skyline of New York City and into one of its squeezed buildings, where a crowded, noisy, smoky social gathering claustrophobically clusters around the bright intellectual light of Truman Capote (Philip Seymour Hoffman), his wit like a flame to these fluttering urban moths. It’s the hoary old country vs. city motif…

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