 | 映画原題: Capote [ 映画邦題: カポーティ] : 話題注目作劇場公開映画 |  | |  |  | |  | Capote : Hollywood Cinema Director : シネマ作品監督紹介 | | Capote : Actor [CAST・CREW] : アクター・アクトレス(男優・女優・声優)&ミュージシャン・アーティスト紹介 | | Capote : 本国映画ライターによる映画の内容 with イングリッシュ : English Description of Story |  |  |  |  | Amazon.com:Bolstered by an Oscar®-caliber performance by Philip Seymour Hoffman in the title role, Capote ranked highly among the best films of 2005. Written by actor/screenwriter Dan Futterman and based on selected chapters from the biography by Gerald Clarke, this mercilessly perceptive drama shows how Truman Capote brought about his own self-destruction in the course of writing In Cold Blood, the "nonfiction novel" that was immediately acclaimed as a literary milestone. After learning of brutal killings in rural Holcomb, Kansas, in November 1959, Capote gained the confidence of captured killers Perry Smith (Clifton Collins, Jr.) and Dick Hickock (Mark Pellegrino) in an effort to tell their story, but he ultimately sacrificed his soul in the process of writing his greatest book. Hoffman transcends mere mimicry to create an utterly authentic, psychologically tormented portrait of an insincere artist who was not above lying and manipulation to get what he needed. Bennett Miller's intimate direction focuses on the consequences of Capote's literary ambition, tempered by an equally fine performance by Catherine Keener as Harper Lee, Capote's friend and the author of To Kill a Mockingbird, who served as Capote's quiet voice of conscience. Spanning the seven-year period between the Kansas murders and the publication of In Cold Blood in 1966, Capote reveals the many faces of a writer who grew too close to his subjects, losing his moral compass as they were fitted with a hangman's noose. --Jeff Shannon |  |  |  |  | | | | | Capote : 現地ハリウッド市民の評価 : 英語批評版 : Native Evaluation | | | | |  Truman Capote goes to Kansas to write "In Cold Blood" / 2006-03-04
Ostensibly "Capote" is the story of Truman Capote writing "In Cold Blood: A True Account of a Multiple Murder and Its Consequences," about the 1959 murders of the Clutter family in Holcomb, Kansas. The book is considered a landmark in American letters for epitomizing, if not creating (as Capote claimed), the new genre of the non-fiction novel, wherein the traditional conventions of literature were applied to a crime story. However, by the time we fade to black and get to the title cards that let us know the rest of story, it becomes clear that "Capote" is trying to provide insights as to why the author of "Breakfast at Tiffany's" never finished another novel. Publishing the novel changed American literature, but writing it changed Capote.
When the Clutters are murdered, Capote reads of the story in "The New York Times" and decides he wants to write about it for "The New Yorker." The editor, William Shawn (Bob Balaban), agrees and Capote heads for Kansas. He connects with the head of the investigation, Alvin Dewey (Chris Cooper), through his wife, Marie Dewey (Amy Ryan), who is dazzled by a celebrity from New York City. Capote does not care if the killers are caught or not, but Alvin Dewey does. Once Perry Smith (Clifton Collins, Jr.) and Richard Hickock (Mark Pellegrino) are captured, convicted, and sentenced to death, Capote's biggest concern is keeping the two murderers alive long enough to hear what happened that night. He helps get them new lawyers for a series of appeals, trying to get Smith, the one of the pair with whom he has established a real rapport, to provide the details. In time that will happen, but then a horrified Capote realizes he cannot complete the book because Smith and Hickock are still alive and the story will not be over until they are executed.
Capote is accompanied to Kansas by his friend, Nelle Harper Lee (Catherine Keener), who in 1959 has recently finished her book about children and a dead bird, and is trying to find a publisher. I am drawn to the irony that Capote and Lee worte what are arguably the two most important books produced in my life time, yet neither wrote another (and there are those who claim Capote co-authored her book). I know enough about "To Kill a Mockingbird," which was developed from a series of short stories based on incidents in her family history, to accept the idea that Lee had but one novel in her and that when that book is selected novel of the century there is nothing to complain about. But it is impossible to believe the same of Capote, and the film that bears his name gives us some indication of what is lost when the author gives a public reading from his book and it becomes clear to us that "In Cold Blood" is as good as Capote claims.
In a year when three of the Oscar nominations for Best Actor are based on not only real people but famous people whose way of talking (and singing) are well known, Hoffman's performance stands out for the moments when we are not listening to Capote's affected speech. It does not take long in the film to distinguish between the Capote of the cocktail parties, when he clearly knows he is on stage and the one that can be persuasive when out and about in the real world. But for me the key moments are when Capote is silent, observing and reacting to people and things. If Hoffman wins the Best Actor Oscar tomorrow night as is expected, part of it will be because of the respected body of work he has produced in films over the last decade, but the majority will be because of this finely nuanced performance that is so far removed from the caricature it could have been that we accept him as Capote and are suitable impressed. | | | | | | | | | | | |  Hoffman Channeled Capote / 2006-02-18
Truman Capote's masterpiece IN COLD BLOOD (1965) set a new standard and style in the literary world. We know that he didn't finish another novel after it, too, which begs the question, "Why?"
Fast-forward to the 2005 film CAPOTE and we get the answer.
Mr. Capote is reincarnated in the body of actor Philip Seymour Hoffman, and it is "through" him that we get to find out what happened during this snapshot time of Truman Capote's life. A vicious murder of a family in rural Kansas takes place and Truman races there to find out if there's a magazine story in it. But what he finds is much more than just a short periodical piece. As the murderers are captured, Truman becomes enraptured with the idea of learning why these seemingly innocuous men did something so heinous.
Truman digs deep, perhaps too deep, and we watch as every shred of decency is stripped away from him just so he can "finish the story." He bribes the prison warden and lies to the two killers (and ultimately to himself) about why he's really spending so much time with them on death row.
In the end, it rips Truman apart, causing him to become an alcoholic and a shell of what he once was.
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Occasionally casting directors get "it" right. And this time, they not only got it right by casting Mr. Hoffman in the role of Truman Capote, they bottled a bit of magic and captured it on film. David Strathairn did it, too, in his performance as Edward R. Murrow in GOOD NIGHT AND GOOD LUCK, but Hoffman takes it to a euphoric level for movie watchers. His mannerisms, voice and costumes were impeccable. Many times I thought I was actually watching Truman Capote and not an actor playing him. Now that's great acting.
If there was any failings in the movie, I'd have to say it was with its overall script. Although intriguing and genuinely creepy, it held only a small piece of what Truman Capote was. I realize that to capture all of what he was would be almost impossible ...but there you go. That's life.
Even so, Hoffman deserves all the accolades he's gotten and I have no doubt he'll jump up on stage at the Oscars this year and pick up his statue. | | | | | | | | | | | | compelling psychological insight into the author / 2006-02-14
****1/2
With his trademark curling lisp, high-pitched, squeaky voice and flamboyant mannerisms, it would have been easy for almost any actor to build a portrayal of Truman Capote on a foundation of studied mimicry and impersonation alone. But in "Capote," Phillip Seymour Hoffman goes far beyond surface recreation, plumbing the core of the inner man and bringing him to palpable life on the screen. Most eloquent in his silences, Hoffman mesmerizes us with his performance.
Based on a book by Gerald Clarke, "Capote" deals with the period in which the author struggled through to create his literary masterpiece, "In Cold Blood," a book he claimed as the beginning of a whole new genre of writing, the "nonfiction novel." In November 1959, a family of four was brutally slaughtered in their Kansas farmhouse by two drifters in search of cash, Richard Hickock and Perry Smith. Capote, a successful writer and bon vivant of the literati set in Manhattan, found himself drawn to the case, venturing to the heart of the country with his lifelong friend, Harper Lee (author of "To Kill a Mockingbird"), to interview the accused killers and try to make some sense of the whole thing. The screenplay by Dan Futterman zeroes in with stiletto-like precision on the complex relationship that develops between Capote and Perry, the more "sensitive" of the two killers. Capote is drawn to this man in so powerful a fashion that even he is unable to figure out exactly why. Is it because he senses something in Perry's past that reminds him of his own (both suffered from abandonment issues), thus creating a sort of kinship between them? Is he attracted to Perry sexually and romantically? Or is he being subtly manipulated by an evil man who senses in this author a weakness and vulnerability he can exploit for his own nefarious purposes?
It is a tribute to the complexity of the filmmaking that we feel that none of these and all of these possibilities may be true simultaneously. And what is so great about Hoffman's performance is that he builds on this ambiguity. We are never entirely sure if Capote truly cares for Perry or if he is merely using him to get what he needs for the book. And the way Hoffman plays him, Capote never seems quite sure either. He is obviously drawn to Perry with a sort of grim fascination, as anyone might be who encounters a person whose actions are as inexplicable and yet larger-than-life as Perry`s. But when it all becomes too much for Capote and he begins to ignore Perry`s demands for attention, is he doing so out of indifference or disgust at himself for being so drawn to this person in the first place? Is this fascination with Perry revealing dark truths about Capote that the man himself is unwilling or unable to acknowledge? The film never answers those questions - as well it shouldn`t.
Clifton Collins Jr. is also very powerful as Perry, providing the sensitivity and charisma the character needs to make the story convincing. In a rich performance as Harper Lee, Catherine Keener serves as the moral center of gravity to which Capote must continually return in order to finish his work and maintain his grip on reality.
In his first non-documentary film, Bennett Miller demonstrates remarkable control as a director. His spare filmmaking style perfectly reflects not only the harsh Midwest setting but the chamber-like drama that is unfolding within it. It is a very "interior" film, and Miller is not afraid to linger long on his scenes, allowing the actors free rein in establishing their rhythms and building the drama.
Although come Oscar night, I will be rooting for Heath Ledger to take home the trophy (I believe his performance in "Brokeback Mountain" is the high point of acting in recent times), I will certainly understand it if the Academy chooses to honor Hoffman's work here instead. It would definitely be my second choice. | | | | | | | | | | | |  Not going to win Academy Award / 2006-02-12
However, it was a good movie. I enjoyed watching this movie and the brilliant lead role of Truman Capote played by Phillip Seymour Hoffman. Unfortunately, the story wasnt what I was expecting, as I had no prior knowledge of this story. It was eerily similar to Dead Man Walking, but Dead Man Walking was much better. It was well done, but definately wasnt one of the best of the year. | | | | | | | | | | | | Superbly Acted-One of the year's best / 2006-02-11
Philip Seymour Hoffman has acted phenomenally before, but usually in smaller films. Capote is a fantastic film that never goes wrong. This is Hoffman in his best performance. There is no other actor in this year's Best Actor category that truly matches Hoffman. His accent and mannerisms are perfect. One of the year's best films and one of the best biography films I have ever seen. It far surpasses even great films such as Walk the Line and Ray. | | | | | | | | ご利用のウェブブラウザがFirefoxの場合、ここに新たな映画情報が表示されます。 もし、どんな情報が表示されているか知りたい方は、Google ツールバーを搭載したFirefoxをダウンロードし、インストールして見て下さい。 インターネット・エクスプローラ：Internet Explorer（IE）より、インタネット・ウイルスやアドウェアやスパイウェア等の セキュリティ面でIEより安全で、ポップアップ広告をブロックする機能、RSSフィードが読み込める機能や、ページ検索のハイライト機能、GoogleやAmazonなどの検索機能が利用できる統合検索機能などが備わっている インターネットブラウザＦｉｒｅｆｏｘを使用することを推奨します。 サイトとウェブ・ブラウザについて：このウェブサイトはWebブラウザFirefoxによって最適化されています。
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[R (Restricted)]
次作の構想にとりかかっていたカポーティ (フィリップ・シーモア・ホフマン) は、ある日、ニューヨーク・タイムズの記事に載っていた、カンザス州の一家4人皆殺し事件を読み、この事件を再構築したノン・フィクションを書くことを思いつく。カポーティは逮捕されたペリー・スミス (クリフトン・コリンズJr.) とリチャード・ヒコック (マーク・ペレグリノ) の二人組を獄中に訪れる。二人には死刑の判決が下るが、一方でカポーティは特にペリーと緊密の度合いを増していく‥‥
