And the winner is . . .

Rating: 10/10 (22 October 2005)

Phillip Seymour Hoffman, who gives the best performance so far this millennium as "capote." I'm usually not into the whole "awards" thing, as well as actors playing well-known figures as an imitation, or "transforming" into a new role, but what's remarkable about his performance, is that he's faced with such a specific and exaggerated character he needs to play (and he nails the stuttering lisp and squeaky voice), but it takes a back seat to how well he understands the role "capote" needs to play in this movie. The movie centers on capote as narcissistic and completely involved in himself, his own world, and his own work . . . and that's exactly how he comes across. But he's neither hero nor villain-- we see him for what he is, we neither like him or hate him . . . but we're fascinated with him and his research for "in cold blood" . . . and what's vital to the movie-- is that we're willing to follow him the entire time.Believe it or not, Hoffman, while faced with an extreme and flamboyant character, adds a subtle note under the imitation in every scene that leads it to become what the director wants. At the end, he has a breakdown and cries as the criminals face the death penalty. Hoffman makes it clear that-- he's crying because ANYBODY would cry while facing something like that-- but then we really have NO idea why he's affected beyond that . . . what is he thinking? it could be anything. This scene reminded me so much of the ambiguity of halle berry in the final scene of monster's ball.
I can't stand catherine keener, i think she's terrible in most things, but . . .she blew me away. What a great cast. And dan futterman's script is the best screenplay in ages.
This isn't the life story of truman capote, but instead an exploration of a great mind meeting a criminal mind. IT's a suspense story even though we know the end results. This is a credit to the writer, the crew, the astounding cast, and specifically . . . phillip seymour Hoffman.