Infamous
Comparisons to 2005’s film Capote are both inevitable and necessary - both films deal with Truman Capote’s fascination with murderers Dick Hickock and especially Perry Smith, and writing his novel about the murders, In Cold Blood. I must say it’s impossible to describe how deeply and vitally different these films are from each other.
Keep in mind, too, that no praise given to Infamous detracts from the excellence of Capote or vice versa. They are simply a delicious apple and a delicious orange. Where Capote’s Philip Seymour Hoffman was cunning, cold, and self-interested, Infamous’ Toby Jones was warm, vulnerable, and conflicted. The interpretation of Truman’s process is really what differentiates the films for me.
Jones’ physical presence is uncanny, and his Truman Capote sticks out in 1959 rural Kansas like a diamond necklace in kitty litter. His diminutive statute, fey mannerisms, and flamboyant (but never outrageous) costuming make him a sparkling freak (in a good way) among these Ike voters, yet he wins them over with his genuine, pure ability to listen, and hear, and respect. His interest in the prisoners is definitely motivated by the pursuit of art, not self-aggrandizement. His enormity of personality is a defense mechanism rather than a glib affectation in defiance of all around himself. It’s a beautiful performance.
Infamous did one thing that the film Capote did not, which was to make me want to read In Cold Blood. I also felt more of an understanding for his affinity for Perry (an intensely different Daniel Craig). Rather than admiring his rugged looks or his claims of innocence, these men connect as two tortured artists, one repressed, one oppressed. Perry and Truman’s relationship is more developed in this film - my companion would say unflinching - whereas Capote dealt more with Truman’s manipulation of Perry in the service of his book, here we get to know Truman more as a man, and we get the breath of humanity in Perry that Truman was struggling in his promise to capture.
As Perry, Craig is a hoodlum Hannibal Lecter, determined to be treated fairly but fatalistc, realistic about his fate. Life has disappointed him all along, why expect differently now? His scenes with Toby have an intimacy beyond the intellectual, very grounded and affecting.
Harper Lee appears here in the body of Sandra Bullock, with a delectable Alabama twang and the right sense of humor to be the lifelong friend in a world like Truman’s. I was never quite able to forget she was Sandra Bullock, but beyond that she does a fine job. Watching Truman with her (and Perry) compared to Truman with his society friends paints a rich portrait of the artist as a man.
Pieces of the story are delivered interview style by the various glitterati of Capote’s social circle, very illuminating and rather exciting to have this docudrama departure from the emotionally intense storyline; it was not distracted, as it could have been. Juliet Stevenson in particular is a confection all her won as Diana Vreeland. It gives the film some heft to have so much of it be about Truman by his closest friends and not just a portrayal of his book-writing agonies. It’s wonderful to hear who Perry and Truman were as children, and really feel their connection in those last 4 years of Perry’s life. It’s a gorgeous, gorgeous film.
MPAA Rating R-language, violence, some sexuality
Release date 10/13/06
Time in minutes 118
Director Doug McGrath
Studio Warner Independent Pictures
