2005 was my favorite recent year for American films. We had Batman Begins, Brokeback Mountain, and a re-release of Louis Malle’s Elevator to the Gallows from 1958. (That technically shouldn’t count but it’s such a cool movie I have to include it.) As much as I liked those films, though, Capote was the one that made the biggest impression on me. It’s got a fearless Academy Award winning performance from Philip Seymour Hoffman as Truman Capote and it’s both a fascinating true crime story and a keenly observed morality play.
Capote traces the genesis of Truman Capote’s masterpiece "non-fiction novel," In Cold Blood, from the shockingly violent mass murder in a small Kansas town that was its subject to Capote’s ascendance as one of the most revered authors of his time. What transpires in between is a disturbing account of an artist manipulating the source of his inspiration - his death row muse, if you will - into providing him with the necessary materials to make an undisputed literary work of art. In Cold Blood is one of the most important books of the 20th century, not only for its brilliantly paced tragic story but also for its resolute humanization of its despised protagonists. But it’s not left wing agitprop; it’s a chilling glimpse into the depths of darkness. What director Bennett Miller does with his film is to posit that Truman Capote crossed an ethical line by getting in the middle of his story and that, for all of the success it brought him, it sowed the seeds of his later ruination.Continue Reading
After his massive debut film Sex, Lies, and Videotape helped jump start the impressive independent film movement of the 1990s, director Steven Soderbergh had a rough go in the world of filmmaking. Though his follow-ups King of The Hill, Kafka, and The Underneath were all interesting, none lived up to the promise shown earlier. It wasn’t until the end of the decade that Soderbergh started to really find his stride with a pair of terrific crime thrillers, Out of Sight and The Limey. Often working as his own cinematographer his films developed a grainy, handheld look and an almost docudrama feel. In 2000 Soderbergh peaked critically with the solid drama Erin Brockovich and his two-and-a-half hour epic Traffic, a truly outstanding look at the drug trade in both the United States and Mexico.
A remake of the British TV mini-series Traffik, Soderbergh’s film follows the original very carefully, but expands on the political potholes faced by the politicians while changing the land of the traffickers from Pakistan to Mexico. It all adds up to a more complex tale. The film follows three stories taking place in Tijuana, San Diego, and Ohio. Each story is given a different look and color scheme—Ohio looks cold and blue, while Mexico is washed out and yellow. The film is giant with over a hundred speaking roles, and even includes actual politicians Barbara Boxer and Orrin Hatch playing ...