In Cold Blood, is the book that shocked America. Truman Capote wrote it, and tells the story of a family murdered in Holcomb, Kansas. It could be news to the newspapers, that history. Caught between a paragraph long articles, worthy of note, the New York Times. But he did not go well. Those lines to read Capote in her living room, and was electrocuted. He understood immediately that, in those lines, hid at least two things: enough material to write a novel, and the ability to rip Holcomb, a place somewhere in Kansas, from anonymity. Thus, the writer Capote, famous for his Breakfast at Tiffany , cut out the article, called the New York Times, you are relying on reportage of this story, Nell Harper Lee recruited as an assistant and bodyguard, and leaves for Kansas. It is not that well received, as a Truman Capote in Kansas. Extravagant clothes, manners sliced, a sound of childish voice, shown off as a sign of elegance and difference, clash with the strict Calvinist Holcomb, people who live there. But in that remote part of Kansas, is New York, Truman Capote, his follies, his charm, and not long to be accepted. So, when it is much easier to dig, dig to the heart of Capote Holcomb, piano and unearths stories, moods, clues, in that piece of America, all you had to do with the massacre that the crime of 'New York Times of November 1959 gave him one day.
The film starts here. From a writer, gray background in Kansas, chasing a story. Bennet Miller, director, recreates the '50s in that part of the world. And it does so with precision, without a barb. Constructs Holcomb, and her gray, around the exploits of Truman Capote. And that perfection lies, Miller, without being seen, noticed, as if the story would go without saying, according to Capote. Here, in this mimicry, the strength and weakness of the film. Force : why Miller unfolds with mastery over the world, the colors, in which the actor Philip Seymour Hoffman, Oscar 2006 for best actor, gives proof of his skill, his ability to adhere perfectly to the gestures of Capote, the sound of his voice, his way of thinking and managing situations of life. But at the same time, weakness: why the film does not say more than what we see, does not give us the opportunity to read in depth a time, place, because everything is already in order, explained, with its beginning, its end, and an actor in the midst of applause that restores body and force to Truman Capote. What this film, then? A plaque in memory of Capote, you might think. And something more.
Perhaps there really is another, in this film. Perhaps we might think, Truman Capote – A sangue freddo , non come un film, ma come un monito : un consiglio, un’esortazione, un ammonimento, ad una classe specifica di persone. Gli intellettuali. Gente che per mestiere pensa, scrive, dice al mondo come il mondo dovrebbe girare. Schiacciamo per un attimo rewind nella nostra memoria e portiamo il film a capo. Truman Capote, scrittore e intellettuale, tra le infinite notizie che passano tra le righe e le pagine dei giornali, ne sceglie una, e la segue. Non ha paura, Truman Capote, di scendere dentro la realtà, di sporcarsi le mani in quella realtà. Arriva in un posto sperduto nel Kansas, e prova a mettere ordine agli eventi: per spiegare la realtà, per renderla chiara: to understand it, if it is impossible to understand. And, with the figure of Truman Capote that looms on the screen, I think this should do the intellectuals. Dirty reality. Excavate reality. Unearth the heart of reality elements, the evidence, the braids, which can be useful to understand the world. Perhaps it is not entirely useless, this movie, if you remember this, rather than the torment of a writer who believes in his story, in his writing. We need ideas, people who make the move. It is a task mica recently be intellectuals. It is not a status to boast to gala dinners. It is a duty.
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