[ΤΑΙΝΙΟΚΡΙΤΙΚΗ] Truman Capote

[Remy Fincher]

"Capote" emstar emstar, 5

Του Μπένετ Μίλλερ

Με τους Φίλιπ Σίμορ Χόφμαν, Κάθριν Κίνερ, Κρις Κούπερ, Μπομπ Μπάλαμπαν, Κλίφτον Κόλλινς Τζρ.

Η ιστορία πίσω από τη συγγραφή του πιο διάσημου και σημαντικότερου έργου του Τρούμαν Καπότε (Χόφμαν), του "Εν Ψυχρώ", το οποίο βασίστηκε στην πραγματική ιστορία της σφαγής μιας οικογένειας στο Κάνσας...

Εκείνο το πρωινό του Νοέμβρη, 46 χρόνια πριν, κανείς στη μικρή κοινότητα Χόλκομπ του Κάνσας δεν μπορούσε να πιστέψει τι είχε συμβεί: μια τετραμελής οικογένεια, τέσσερις από τους "δικούς τους", είχαν δολοφονηθεί άγρια μέσα στο ίδιο τους το σπίτι από δύο επίδοξους ληστές. Ο Τρούμαν Καπότε, δημοσιογράφος, λογοτέχνης και διασημότητα, θα μεταβεί στο Χόλκομπ ως απεσταλμένος του "New Yorker" για να παρατηρήσει και να καταγράψει την επίδραση της τραγωδίας στους συντοπίτες των θυμάτων. Θα λάβει οργή, απόγνωση, φόβο, δίψα για εκδίκηση, ό,τι αναμενόταν και αναμένεται σε αυτές τις περιπτώσεις. Όταν όμως θα περάσει για πρώτη φορά την πόρτα της φυλακής για να συναντήσει τα "κτήνη", για να βρει απάντηση στο "γιατί" που βασάνιζε όλους, θα ανακαλύψει και κάτι άλλο, κάτι που ταράζει συθέμελα τον κόσμο του.

Truman: It's as if Perry and I grew up in the same house. And one day he went out the back door and I went out the front.

Ο Καπότε ταυτίζεται με το "τέρας", μια ταύτιση βαθιά, ειλικρινής, σχεδόν ερωτική. Στα μάτια του εγκαταλελειμμένου Πέρρυ Σμιθ, βλέπει τον εαυτό του, όπως εκείνος θα μπορούσε να είχε καταλήξει.

Το "Καπότε" θα μπορούσε να είναι ένα "όχημα" για τον εκπληκτικό Χόφμαν, που κυριεύει την οθόνη με μια ερμηνεία που συγκρίνεται άνετα με το Ρέι Τσαρλς του Τζέιμι Φοξ ή τον Πήτερ Σέλλερς του Τζέφρι Ρας. Ο μόνος λόγος που αυτό δε συμβαίνει, είναι γιατί πλαισιώνεται από ένα αξιόλογο καστ, από τον Κρις Κούπερ και την Κάθριν- Χάρπερ Λι- Κίνερ μέχρι τον Κλίφτον Κόλλινς Τζρ, ο οποίος στο ρόλο του Πέρρυ Σμιθ αποδεικνύεται τουλάχιστον εντυπωσιακός.

Η λιτότητα της προσέγγισης του Μίλλερ αγγίζει ενίοτε τον ακαδημαϊσμό, μην αφήνοντας την ταινία να απογειωθεί σε συναισθηματικό επίπεδο. Παρόλα αυτά, αν και το "Καπότε" δεν είναι αριστούργημα, είναι μια από τις must-see ταινίες της σεζόν, αν όχι γιατί λειτουργεί εξαίσια ως πραγματεία για τα όρια της ανθρώπινης φύσης, τουλάχιστον για να θαυμάσει κανείς το κρεσέντο ηθοποιίας στο οποίο φτάνει ο πρώην καρατερίστας και νυν οσκαρούχος (δεν τίθεται αμφιβολία επ'αυτού) πρωταγωνιστής της.

[Dr Lecter]

Δεν την εχω δει την ταινια αλλα το βιβλιο του το Εν ψυχρω ειναι απλα συγκλονιστικο! Ολα τα λεφτα!

Η περιγραφη των τραγικων γεγονοτων και των επισης τραγικων χαρακτηρων ειναι αψογη. Ειναι απιστευτο το οτι η ολη τραγωδια εγινε εντελως τυχαια. Σε κανει να συνειδητοποησεις ποσο φτηνη και ασημη ειναι η ανθρωπινη ζωη και οτι ο Θεος υπαρχει μονο στη φαντασια μερικων ανθρωπων.

Συμπερασμα · Διαβαστε πρωτα το βιβλιο και μετα δειτε την ταινια.

[Remy Fincher]

Dr. Lecter κάνε μου μια χάρη... παράθεσε -νομίζω ήταν από το "Εν Ψυχρώ"- το απόσπασμα εκείνο που λέει για την ηδονή και την εξουσία του φόνου ("...τότε είμαι και εγώ ΘΕΟΣ"). Τρεις ώρες το ψαχνα σήμερα στο Ίντερνετ...

[Dr Lecter]

Dr. Lecter κάνε μου μια χάρη... παράθεσε -νομίζω ήταν από το "Εν Ψυχρώ"- το απόσπασμα εκείνο που λέει για την ηδονή και την εξουσία του φόνου ("...τότε είμαι και εγώ ΘΕΟΣ"). Τρεις ώρες το ψαχνα σήμερα στο Ίντερνετ...

Δεν το ξερω αυτο το αποσπασμα, παντως δεν ειναι απο το Εν Ψυχρω.

[Remy Fincher]

From In Cold Blood, by Truman Capote.

Duntz says, "Perry, I've been keeping track of the lights. The way I calculate it, when you turned off the upstairs light, that left the house completely dark."

"Did. And we never used the lights again. Except the flashlight. Dick carried the flashlight when we went to tape Mr. Clutter and the boy. Just before I taped him, Mr. Clutter asked me -- and these were his last words -- wanted to know how his wife was, if she was all right, and I said she was fine, she was ready to go to sleep, and I told him it wasn't long till morning, and how in the morning somebody would find them, and then all of it, me and Dick and all, would seem like something they dreamed. I wasn't kidding him. I didn't want to harm the man. I thought he was a very nice gentleman. Soft-spoken. I thought so right up to the moment I cut his throat.

Wait. I'm not telling it the way it was." Perry scowls. He rubs his legs; the handcuffs rattle. "After, see, after we'd taped them, Dick and I went off in a corner. To talk it over. Remember, now, there were hard feelings between us. Just then it made my stomach turn to think I'd ever admired him, lapped up all that brag. I said, 'Well, Dick. Any qualms?' He didn't answer me. I said, 'Leave them alive, and this won't be any small rap. Ten years the very least.' He still didn't say anything. He was holding the knife. I asked him for it, and he gave it to me, and I said, 'All right, Dick. Here goes.' But I didn't mean it. I meant to call his bluff, make him argue me out of it, make him admit he was a phony and a coward. See, it was something between me and Dick. I knelt down beside Mr. Clutter, and the pain of kneeling -- I thought of that goddam dollar. Silver dollar. The shame. Disgust. And they'd told me never to come back to Kansas. But I didn't realize what I'd done till I heard the sound. Like somebody drowning. Screaming under water. I handed th eknife to Dick. I said, 'Finish him. You'll feel better.' Dick tried -- or pretended to. But the man had the strength of ten men -- he was half out of his ropes, his hands were free. Dick panicked. Dick wanted to get the hell out of there. But I wouldn't let him go. The man would have died anyway, I know that, but I couldn't leave him like he was. I told Dick to hold the flashlight, focus it. Then I aimed the gun. The room just exploded. Went blue. Just blazed up. Jesus, I'll never understand why they didn't hear the noise twenty miles around."

Dewey's ears ring with it -- a ringing that almost deafens him to the whispery rush of Smith's soft voice. But the voice plunges on, ejecting a fusillade of sounds and images: Hickock hunting th edischarged shell; hurrying, hurrying, and Kenyon's head in a circle of light, the murmur of muffled pleadings, then Hickock again scrambling after a used cartridge; Nancy's room, Nancy listening to boots on hardwood stairs, the creak of the steps as they climb toward her, Nancy's eyes, Nancy watching the flashlight's shine seek the target ("She said, 'Oh, no! Oh, please. No! No! No! No! Don't! Oh, please don't! Please!' I gave the gun to Dick. I told him I'd done all I could do. He took aim, and she turned her face to the wall"); the dark hall, the assassins hastening toward the final door. Perhaps, having heard all she had, Bonnie welcomed their swift approach.

"That last shell was a bitch to locate. Dick wiggled under the bed to get it. Then we closed Mrs. Clutter's door and went downstairs to the office. We waited there, like we had when we first came. Looked through the blinds to see if the hired man was poking around, or anybody else who might have heard the gunfire. But it was just the same -- not a sound. Just the wind -- and Dick panting like wolves were after him. Right there, in those few seconds before we ran out to the car and drove away, that's when I decided I'd better shoot Dick. He'd said over and over, he'd drummed into me: No witnesses. And I thought, He's a witness. I don't know what stopped me. God knows I should've done it. Shot him dead. Got in the car and kept on going till I lost myself in Mexico."

A hush. For ten miles more, the three men ride without speaking.

Sorrow and profound fatigue are at the heart of Dewey's silence. It had been his ambition to learn "exactly what happened in that house that night." Twice now he'd been told, and the two versions were very much alike, the only serious discrepancy being that Hickock attributed all four deaths to Smith, while Smith contended that Hickock had killed the two women. But the confessions, though they answered questions of how and why, failed to satisfy his sense of meaningful design. The crime was a psychological accident, virtually an impersonal act; the victims might as well have been killed by lightning. Except for one thing: they had experienced prolonged terror, they had suffered. And Dewey could not forget their sufferings. Nonetheless, he found it possible to look at the man beside him without anger -- with, rather, a measure of sympathy -- for Perry Smith's life had been no bed of roses but pitiful, an ugly and lonely progress toward one mirage and then another. Dewey's sympathy, however, was not deep enough to accommodate either forgiveness or mercy. He hoped to see Perry and his partner hanged -- hanged back to back.

Duntz asks Smith, "Added up, how much money did you get from the Clutters?"

"Between forty and fifty dollars."