Douglas McGrath (2006)

Rachel Portman’s score is all over the place – it faithfully reflects the film’s lurches in mood.  There’s wry guitar music, suggesting a Woody Allen comedy; conventional scary music for the murders of the Clutter family; twinkly bits to accompany Truman Capote’s more reflective and sentimental moments.  Bennett Miller’s Capote, released the previous year, turned harshly judgmental:  Miller presents Capote’s use of real-life events (and of Perry Smith and Dick Hickok) in order to write In Cold Blood as causing the end of his literary career.  The irony is presented as a case of just desserts and the movie is reduced by this point of view (at least it is on a second viewing:  first time round, Philip Seymour Hoffman’s brilliance as Capote obscures its limitations).  Although a more sympathetic treatment of Truman Capote is therefore welcome in theory, Infamous turns out weak and shallow:  perhaps Douglas McGrath has the wrong temperament for the material – he may be too good natured.   The early scenes, when Capote (Toby Jones) and Harper Lee (Sandra Bullock) visit Holcomb, Kansas, where the killings took place, and socialise over Christmas with Sheriff Alvin Dewey (Jeff Daniels) and his wife (Bethlyn Gerard) and friends, are sharply entertaining.  McGrath shows how Capote is exploiting these connections for the book he has in mind and enjoying being the centre of attention in a new social world – so that he’s not too homesick for New York.  You wonder how the writer-director will make a successful transition to the darker side of the story and he simply doesn’t.  At one point Capote says to Perry Smith, ‘You did a terrible thing’, but you feel that Douglas McGrath, like Smith, struggles to grasp the fact emotionally.  There are flashbacks to the murder of the Clutters but they are indifferently staged:  this is the first time (after seeing In Cold Blood, and Capote twice) that I’ve not been horrified by the reconstruction of these crimes.  The family is being executed by actors giving bad performances – Daniel Craig (Smith) and Lee Pace (Dick Hickok) – rather than by bad men.

McGrath’s screenplay is based on George Plimpton’s 1997 book Truman Capote: In Which Various Friends, Enemies, Acquaintances, and Detractors Recall His Turbulent Career.  Compared with Capote, Infamous includes much more coverage of Capote’s socialite circle in New York – McGrath stages a series of interviews with Diana Vreeland (Juliet Stevenson), Babe Paley (Sigourney Weaver), Slim Keith (Hope Davis), Marella Agnelli (Isabella Rossellini), Gore Vidal (Michael Panes) and Bennett Cerf (Peter Bogdanovich), as well as Harper Lee.  McGrath never really works out whether he wants this to be a faux-documentary about Capote or a drama about the creation of In Cold Blood; nor does he manage to get a consistent style of playing from Capote’s acquaintances.  Hope Davis has a good scene when Slim Keith has drunk too much but still doesn’t trust Truman enough to give too much away.  Sigourney Weaver and Isabella Rossellini are more or less wasted.  Juliet Stevenson’s desire to show off eclipses any kind of interpretation of Diana Vreeland.  Peter Bogdanovich is wooden.  Michael Panes’s appearance is mercifully fleeting.   After a while, the witnesses to Capote’s life become something to fall back on – when it’s easier for what happened to be described in this way rather than dramatised.  Back on death row, Perry Smith’s intelligence and vulnerability are served straight:  McGrath is disinclined to grapple with the fact that he murdered people – and doesn’t allow Capote to do so either.  Clifton Collins Jr was a rather colourless Smith in Capote but that almost made Capote’s fascination with him more intriguing.  Daniel Craig is dead wrong here – his acting is self-conscious and the character he creates merely hollow.  (Lee Pace is also weak as Dick Hickok – I wasn’t sure whether it was intentional that Austin Chittim, who plays the Clutter son, physically resembles Pace.)  The flashbacks to Smith’s childhood and youth are perfunctory.

The quasi-sexual relationship between Capote and Perry Smith presented in Infamous is, as Douglas McGrath has acknowledged, his own invention.   This may be an easy way of realising Capote’s infatuation with Smith but it’s counterproductive in that it detracts from the mystery of the relationship.  The physical proximity, let alone physical intimacy, of the two men in Smith’s cell leaves nothing to the imagination:   Toby Jones says much more when prison bars are separating him from Perry.  Jones is often fascinating to watch – as, for example, when Capote stands in silhouette, listening intently while one of the Holcomb locals imparts information that is addressed entirely to Harper Lee.  At the very beginning of the film, Capote and Babe Paley are in a New York club where a singer (a cameo from Gwyneth Paltrow) is performing; halfway through the number (What Is This Thing Called Love?) she seems to lose concentration and suddenly to be on the verge of a breakdown.  Jones’s face and body express the room’s collectively holding its breath and giving a sigh of relief when Paltrow recovers and resumes.  The early part of Infamous makes you realise how carefully and expertly Bennett Miller and Philip Seymour Hoffman had to conceal the latter’s height.  Because he’s so short, Toby Jones can do things that Hoffman couldn’t – Jones has a real freedom of movement, is more exuberantly camp and androgynous (and also more extravagantly dressed).  He’s very good too at suggesting how Capote uses his persona – for effect or to get results – but perhaps the overall effect is a little too benign.  He makes Capote a gossip of a less malignant kind than Hoffman did.

Infamous, photographed by Bruno Delbonnel, includes some impressive (if  not unexpected) shots of the flat Kansas countryside.  The colour seems to have drained out of the land – the effect of this is more striking because elsewhere the film often seems too brightly coloured.   This feels wrong no doubt partly because Richard Brooks’s movie of In Cold Blood is in black and white (and the narrative of the book is somehow monochrome too).   Sally and I had to check whether Capote was in black and white too:  it’s not but the palette is certainly much more muted.   There never seems to be any depth to the images in Infamous – all in all, the visual scheme increasingly reflects what’s wrong with Douglas McGrath’s approach.   Sandra Bullock gives an intelligent performance as Harper Lee – she’s by far the best interviewee and good in a scene in which Harper Lee stands up to Capote in an argument, even if the writing of the exchange is a bit obvious.   Bullock is convincingly ambivalent although, by the closing stages, she’s showing signs of strain at being so subdued.  (There’s also one reference too many to Harper Lee’s attempts to write a second novel.)  John Benjamin Hickey is convincing as Capote’s boyfriend Jack Dunphy and Jeff Daniels is excellent as Sheriff Dewey.

23 February 2013