Lately the movies (except in special projections of reviews of a certain thickness) pass mediocre film . Does not relieve you from this value-judgment's acclaimed Capote .
First, the addition to the title, all Italian, of engraved 'In Cold Blood' speaks for itself. Perhaps the intention was to advertise the book on film that, exactly, is on display on the shelves Mondadori (note, not talking about the novel by Truman Capote 'In Cold Blood' - yes that a masterpiece - it would be asking too much!).
Turning to film, Philip Seymour Hoffman is truly remarkable: an interpretation that looks like a 'personification' (though to appreciate it fully, having regard to the peculiar inflection of the voice of the real Capote, I think it right at least one 'step' in the original language ) but ... that's it.
That is, such a film - the story of the genesis of a book that promoted the birth of a new literary genre - can not stand solely on the interpretation of the actor protagonist, but very good. In summary, the narrative is screwed on the character of Capote and the long, boring . The hand of the director, is also virtually absent and that absence helps to make the story told terribly flat emotional terms, despite the efforts of virtuoso Seymour Hoffman.
Rather, we hope that the Oscar for best actor (even if we deserved all its previous interpretations - Boogie Nights, Magnolia, Almost Famous - just to name a few) do not turn away (PSH) from the film Paul Thomas Anderson, the director - and director - who has 'discovered' and launched in the firmament of Hollywood stars.
First, the addition to the title, all Italian, of engraved 'In Cold Blood' speaks for itself. Perhaps the intention was to advertise the book on film that, exactly, is on display on the shelves Mondadori (note, not talking about the novel by Truman Capote 'In Cold Blood' - yes that a masterpiece - it would be asking too much!).
Turning to film, Philip Seymour Hoffman is truly remarkable: an interpretation that looks like a 'personification' (though to appreciate it fully, having regard to the peculiar inflection of the voice of the real Capote, I think it right at least one 'step' in the original language ) but ... that's it.
That is, such a film - the story of the genesis of a book that promoted the birth of a new literary genre - can not stand solely on the interpretation of the actor protagonist, but very good. In summary, the narrative is screwed on the character of Capote and the long, boring . The hand of the director, is also virtually absent and that absence helps to make the story told terribly flat emotional terms, despite the efforts of virtuoso Seymour Hoffman.
Rather, we hope that the Oscar for best actor (even if we deserved all its previous interpretations - Boogie Nights, Magnolia, Almost Famous - just to name a few) do not turn away (PSH) from the film Paul Thomas Anderson, the director - and director - who has 'discovered' and launched in the firmament of Hollywood stars.
david.kujan
