Benedict Fitzgerald, the co-writer of Mel Gibson’s The Passion of the Christ, has died. He was 74.
Fitzgerald died Jan. 17 after a long illness at his home in Marsala, Sicily, his cousin Nancy Morgan Ritter told The Hollywood Reporter.
Best known for his work on Gibson’s 2004 Biblical epic, the highest-grossing Christian film, as well as the highest-grossing independent film of all time, Fitzgerald’s other credits include co-writing the screenplay for John Huston’s Wise Blood (1979), the adaptation of Flannery O’Connor’s novel.
Born on March 9, 1949, in New York, Fitzgerald was born into a literary household. His deeply Catholic mother, Sally, was a writer and editor and his father, Robert, was a poet, United States Poet Laureate (1984-1985), critic, and famed translator of classic ancient Greek and Latin texts, who was responsible for perhaps the most well-known translation of Homer’s The Odyssey.
In the late 1950s, Fitzgerald’s family...
Fitzgerald died Jan. 17 after a long illness at his home in Marsala, Sicily, his cousin Nancy Morgan Ritter told The Hollywood Reporter.
Best known for his work on Gibson’s 2004 Biblical epic, the highest-grossing Christian film, as well as the highest-grossing independent film of all time, Fitzgerald’s other credits include co-writing the screenplay for John Huston’s Wise Blood (1979), the adaptation of Flannery O’Connor’s novel.
Born on March 9, 1949, in New York, Fitzgerald was born into a literary household. His deeply Catholic mother, Sally, was a writer and editor and his father, Robert, was a poet, United States Poet Laureate (1984-1985), critic, and famed translator of classic ancient Greek and Latin texts, who was responsible for perhaps the most well-known translation of Homer’s The Odyssey.
In the late 1950s, Fitzgerald’s family...
- 1/22/2024
- by Abid Rahman
- The Hollywood Reporter - Movie News
Paul Dewey was just a boy in 1959 when his detective dad was assigned to investigate the brutal slayings of the Clutter family, who had been found bound and shot to death in their Holcomb, Kansas, farmhouse that November.
The crime — which stunned the tight-knit, trusting community — gained national attention, and eventually infamy, after author Truman Capote traveled there to research it for his 1966 book, In Cold Blood.
Capote’s non-fiction account, a bestseller of both wide acclaim and criticism (for its sometimes murky blend of factual reporting and fictional flourishes), soon became a 1967 film and is now thought of as...
The crime — which stunned the tight-knit, trusting community — gained national attention, and eventually infamy, after author Truman Capote traveled there to research it for his 1966 book, In Cold Blood.
Capote’s non-fiction account, a bestseller of both wide acclaim and criticism (for its sometimes murky blend of factual reporting and fictional flourishes), soon became a 1967 film and is now thought of as...
- 11/18/2017
- by KC Baker
- PEOPLE.com
John Forsythe was a leading actor on stage, screen and television from the late 1940s, but was never seen in one of his best known roles. He lent his distinctive voice to the role of Charles Townsend, who sent an array of lovely agents on various cases by speaker phone in the Charlie’s Angels television series from 1976 to 1981. The Angels originally included Farrah Fawcett, Kate Jackson, and Jaclyn Smith, and were later joined by Cheryl Ladd, Shelley Hack, and Tanya Roberts. He reprised his role for feature film adaptations twenty years later, Charlie’s Angels (2000) and Charlie’s Angels: Full Throttle (2003), starring Cameron Diaz, Drew Barrymore, and Lucy Liu as a new generation of beautiful detectives. Forsythe became a silver-haired sex symbol in his sixties, when he starred as ruthless oil tycoon Blake Carrington in the ABC prime-time soap opera Dynasty from 1981 to 1989. He frequently found himself at the...
- 4/7/2010
- by Jesse
- FamousMonsters of Filmland
Philip Seymour Hoffman and Catherine Keener in Capote
Photo: Sony Pictures Classics As I said in my What I Watched column on Sunday, I finally got around to watching the 2005 and 2006 Truman Capote films, Capote and Infamous. The first earned five Oscar nominations and one win for Phillip Seymour Hoffman who played the eccentric author to the delight of many. The second was released just over a year later to absolutely no attention whatsoever. This isn't a surprise. Technically Capote is a better film and was deserving of its nomination of Hoffman in the lead role, but to say it is a quality Best Picture candidate, Director or Adapted Screenplay is pushing it, but also comes in large part due to what I perceive to be a poor year in quality film. I mean, Munich was a Best Picture contender and Crash came out on top. Yikes. However, my commentary...
Photo: Sony Pictures Classics As I said in my What I Watched column on Sunday, I finally got around to watching the 2005 and 2006 Truman Capote films, Capote and Infamous. The first earned five Oscar nominations and one win for Phillip Seymour Hoffman who played the eccentric author to the delight of many. The second was released just over a year later to absolutely no attention whatsoever. This isn't a surprise. Technically Capote is a better film and was deserving of its nomination of Hoffman in the lead role, but to say it is a quality Best Picture candidate, Director or Adapted Screenplay is pushing it, but also comes in large part due to what I perceive to be a poor year in quality film. I mean, Munich was a Best Picture contender and Crash came out on top. Yikes. However, my commentary...
- 9/7/2009
- by Brad Brevet
- Rope of Silicon
It wasn't intended this way. Nevertheless, "Infamous" gives you the unique opportunity to see how two sets of filmmakers can take exactly the same story, make extremely tough though different choices in emphasis and tone and achieve brilliant movies. "Infamous" follows Truman Capote on his tortuous and ultimately soul-damaging six-year quest to write his masterpiece, "In Cold Blood", just as the Oscar-winning "Capote" did last year.
Which raises the question: Will "Infamous" be hurt by being released a year later? You would think people who enjoyed "Capote" and Philip Seymour Hoffman's amazing impersonation of that famous, self-aggrandizing writer would want to see the new film. Then again, there may be "Truman fatigue". "Capote" grossed $28.7 million at the domestic boxoffice, so you figure "Infamous" should at least make it past the $20 million mark.
Naturally, both films rely heavily on the central performance. English stage actor Toby Jones certainly looks like Truman Capote. Jones is small, and he makes this one of the keys to understanding this contradictory figure. His imitation of Capote's high-pitched voice and gloriously fey manner is equal to Hoffman's, but his emphasis is less on Tru the tortured author than on his lonely, yearning soul.
His Truman is a man on a lifelong, unrequited search for love. The great irony is that he comes closest to achieving this quest with four-time killer Perry Smith.
Here is where the two movies crucially diverge. "Infamous" spends much longer in the prison cell where the writer and his subject engage in a courtship that results in Perry opening up to Truman and allowing him to write his book. Daniel Craig plays the psychopath with a divided heart. As Truman says, "the tender and the terrible" dwell within him side by side. One side wars against the other, igniting rages that may well have fed the 1959 killing spree in Holcomb, Kansas.
"Infamous" covers the same time period as "Capote": from 1959 until the executions of Perry and his partner Dick Hickock (Lee Pace) in 1965. There are superficial similarities in how the movies juxtapose two dramatically different worlds -- plain-folks Kansas and forbidding prison cells in contrast to the martini-soaked, name-dropping, gossip-fixated Manhattan set where Truman's wit and literary fame made him the toast of many parties.
"Infamous" adds one more juicy ingredient. The movie is based on George Plimpton's oral biography, "Truman Capote: In Which Various Friends, Enemies, Acquaintances and Detractors Recall His Turbulent Career." So you get not only barbed "interviews" with the likes of author Gore Vidal (Michael Panes) but parties and boozy lunches with Babe Paley (Sigourney Weaver), wife of CBS chairman William Paley; Neapolitan princess Marella Agnelli (Isabella Rossellini); socialite Slim Keith (Hope Davis); and Vogue editor Diana Vreeland (Juliet Stevenson). The movie even opens with Gwyneth Paltrow as Peggy Lee, singing and breaking down over "What Is This Thing Called Love?" That question haunts the rest of the movie.
According to "Infamous", Truman and Perry fall for each other. The author's seduction of the murderer for the sake of his book exposes each to a weird sort of alter ego: Both men had fathers who disappeared and disappointed and mothers who committed suicide. Both were greedy for attention. Truman earned his, but Perry had to kill four people.
Truman is accompanied to Kansas by childhood friend and fellow author Harper Lee (Sandra Bullock). She acts as guide and guardian for this strange little man, who initially is hapless and lost in the Midwest. But in this version, she gradually drifts to the sidelines while remaining a confidante and sounding board as the movie shifts from mannered comedy to gripping drama.
Jeff Daniels finds many layers in the role of Alvin Dewey, the Kansas police inspector who must be gradually and grudgingly won over to Truman's cause. Peter Bogdanovich is quite good as Bennett Cerf, the affable editor who ushers "In Cold Blood" into print.
Without the usual fuss and feathers of period pieces, cinematographer Bruno Delbonnel and designer Judy Becker make the past come wonderfully alive. Rachel Portman's melancholy score contributes to the film's sense of regret. For in "Infamous" Truman finds himself in love with a man who needs to die for him to achieve his goal. That kills him spiritually. It is a fact that Capote never finished another book.
INFAMOUS
Warner Independent
Killer Films/John Wells Prods.
Credits:
Screenwriter-director: Douglas McGrath
Based on the book by: George Plimpton
Producers: Christine Vachon, Jocelyn Hayes, Anne Walker-McBay
Executive producer: John Wells
Director of photography: Bruno Delbonnel
Production designer: Judy Becker
Music: Rachel Portman
Costumes: Ruth Myers
Editor: Camilla Toniolo
Cast:
Truman Capote: Toby Jones
Harper Lee: Sandra Bullock
Perry Smith: Daniel Craig
Dick Hickock: Lee Pace
Bennett Cerf: Peter Bogdanovich
Alvin Dewey: Jeff Daniels
Slim Keith: Hope Davis
Peggy Lee: Gwyneth Paltrow
Marella Angelli: Isabella Rossellini
Diana Vreeland: Juliet Stevenson
Babe Paley: Sigourney Weaver
MPAA rating R
Running time -- 118 minutes...
Which raises the question: Will "Infamous" be hurt by being released a year later? You would think people who enjoyed "Capote" and Philip Seymour Hoffman's amazing impersonation of that famous, self-aggrandizing writer would want to see the new film. Then again, there may be "Truman fatigue". "Capote" grossed $28.7 million at the domestic boxoffice, so you figure "Infamous" should at least make it past the $20 million mark.
Naturally, both films rely heavily on the central performance. English stage actor Toby Jones certainly looks like Truman Capote. Jones is small, and he makes this one of the keys to understanding this contradictory figure. His imitation of Capote's high-pitched voice and gloriously fey manner is equal to Hoffman's, but his emphasis is less on Tru the tortured author than on his lonely, yearning soul.
His Truman is a man on a lifelong, unrequited search for love. The great irony is that he comes closest to achieving this quest with four-time killer Perry Smith.
Here is where the two movies crucially diverge. "Infamous" spends much longer in the prison cell where the writer and his subject engage in a courtship that results in Perry opening up to Truman and allowing him to write his book. Daniel Craig plays the psychopath with a divided heart. As Truman says, "the tender and the terrible" dwell within him side by side. One side wars against the other, igniting rages that may well have fed the 1959 killing spree in Holcomb, Kansas.
"Infamous" covers the same time period as "Capote": from 1959 until the executions of Perry and his partner Dick Hickock (Lee Pace) in 1965. There are superficial similarities in how the movies juxtapose two dramatically different worlds -- plain-folks Kansas and forbidding prison cells in contrast to the martini-soaked, name-dropping, gossip-fixated Manhattan set where Truman's wit and literary fame made him the toast of many parties.
"Infamous" adds one more juicy ingredient. The movie is based on George Plimpton's oral biography, "Truman Capote: In Which Various Friends, Enemies, Acquaintances and Detractors Recall His Turbulent Career." So you get not only barbed "interviews" with the likes of author Gore Vidal (Michael Panes) but parties and boozy lunches with Babe Paley (Sigourney Weaver), wife of CBS chairman William Paley; Neapolitan princess Marella Agnelli (Isabella Rossellini); socialite Slim Keith (Hope Davis); and Vogue editor Diana Vreeland (Juliet Stevenson). The movie even opens with Gwyneth Paltrow as Peggy Lee, singing and breaking down over "What Is This Thing Called Love?" That question haunts the rest of the movie.
According to "Infamous", Truman and Perry fall for each other. The author's seduction of the murderer for the sake of his book exposes each to a weird sort of alter ego: Both men had fathers who disappeared and disappointed and mothers who committed suicide. Both were greedy for attention. Truman earned his, but Perry had to kill four people.
Truman is accompanied to Kansas by childhood friend and fellow author Harper Lee (Sandra Bullock). She acts as guide and guardian for this strange little man, who initially is hapless and lost in the Midwest. But in this version, she gradually drifts to the sidelines while remaining a confidante and sounding board as the movie shifts from mannered comedy to gripping drama.
Jeff Daniels finds many layers in the role of Alvin Dewey, the Kansas police inspector who must be gradually and grudgingly won over to Truman's cause. Peter Bogdanovich is quite good as Bennett Cerf, the affable editor who ushers "In Cold Blood" into print.
Without the usual fuss and feathers of period pieces, cinematographer Bruno Delbonnel and designer Judy Becker make the past come wonderfully alive. Rachel Portman's melancholy score contributes to the film's sense of regret. For in "Infamous" Truman finds himself in love with a man who needs to die for him to achieve his goal. That kills him spiritually. It is a fact that Capote never finished another book.
INFAMOUS
Warner Independent
Killer Films/John Wells Prods.
Credits:
Screenwriter-director: Douglas McGrath
Based on the book by: George Plimpton
Producers: Christine Vachon, Jocelyn Hayes, Anne Walker-McBay
Executive producer: John Wells
Director of photography: Bruno Delbonnel
Production designer: Judy Becker
Music: Rachel Portman
Costumes: Ruth Myers
Editor: Camilla Toniolo
Cast:
Truman Capote: Toby Jones
Harper Lee: Sandra Bullock
Perry Smith: Daniel Craig
Dick Hickock: Lee Pace
Bennett Cerf: Peter Bogdanovich
Alvin Dewey: Jeff Daniels
Slim Keith: Hope Davis
Peggy Lee: Gwyneth Paltrow
Marella Angelli: Isabella Rossellini
Diana Vreeland: Juliet Stevenson
Babe Paley: Sigourney Weaver
MPAA rating R
Running time -- 118 minutes...
This review was written for the festival screening of "Capote".
TORONTO - Just as Truman Capote's "In Cold Blood" represented something entirely new in American literature - a non-fiction novel, as Capote correctly called it - the movie "Capote" represents something unique in cinema. It's a hybrid that borrows from bio-pics, docu-dramas and the kind of true-life stories that turn up on television as MOWs. Unlike Capote's book, this film cannot claim to have invented a new genre. But "Capote" certainly expands the possibilities and extends the reach of cinema into the private creative and emotional lives of real people, both living and dead.
Most eye-catching for critics and audiences in the weeks to come will be Philip Seymour Hoffman's brilliant metamorphosis into the persona of the late author. Capote is a man easily imitated, yet hard to pin down, a slippery devil who took one guise after another to cover up the loneliness of his personal nature and his genius. Hoffman gets it all.
Sony Pictures Classics will rightfully hitch the film's marketing to this remarkable performance. Yet "Capote" is a team effort, involving an exceptional screenplay by Dan Futterman and a director, Bennett Miller, willing to move at a painstaking pace to make certain all the nuances, conflicts and contradictions get fully explored.
Yes, it is slow moving. The catastrophe of an answered prayer - a thing that Capote said causes more tears than an unanswered one - only gradually takes shape. The movie will probably not achieve the boxoffice success of Richard Brooks' 1967 movie version of "In Cold Blood" But it could break out of the art-house niche. Word of mouth, critical response and year-end awards may determine how far it does.
"Capote" is based on Gerald Clarke's biography of the writer, but the focus is deliberately narrow: The period of time covered is from 1959, when Truman notices a story about the murders of the Clutter family in Holcomb, Kansas, in the New York Times, to the execution of the killers in 1965. The publication of his book about the killings makes Capote the most famous author in America. This is a time when writers matter and bestsellers are not always self-help tomes or thrillers looking for movie sales.
Miller and Futterman carefully establish the time and place and situate their hero into two different Americas. One is New York literary society with its cocktail parties and witty banter, at which no one exceeds Truman Capote, a Southern, transparently gay writer with a high-pitched voice, exaggerated fey manners and an unmistakable ambition to achieve greatness in his writing.
The other is the Midwest, where Truman is not just a duck out of water, but a duck from outer space. No one knows what to make of him when he turns up accompanied by childhood friend, Harper Lee (Catherine Keener), soon to achieve her own fame with the publication of "To Kill a Mockingbird", but on this project serving as Truman's researcher and, as he puts it, "bodyguard."
Gradually, the pair gains the confidence of Alvin Dewey (Chris Cooper), a starchy Kansas Bureau of Investigation agent, and, when they are caught, the killers, Perry Smith (Clifton Collins Jr.) and Dick Hickock (Mark Pellegrino). Truman's outsider status, so peculiar to all these folks, sometimes works in his favor.
As Truman struggles to get interviews to compose "the book I was always meant to write," strange things happen. He develops a symbiotic relationship with Perry, a kindred soul in many ways, which is something like love yet blatantly exploitative. Equally as troubling is Truman's realization he has made a bargain with the Devil to write his great work. Dwelling mentally and spiritually with the killers takes a toll on him, increasing his already ingrained dependence on alcohol, shaking his relationship with his more stable lover Jack Dunphy (Bruce Geenwood) and unhinging the steadiness of his mind.
Finally, the film does rest on Hoffman's shoulders but Futterman's words, often cribbed from life, and the structure of his screenplay beautifully delineates all these developments.
This is a meticulous production where Jess Gonchor's set design tells us much about the people who inhabit these places and environments hauntingly photographed by Adam Kimmel have a powerful effect on people. Mychael Danna's muted score, relying heavily on the piano, never intrudes but only amplifies the dramatic content.
"Capote" is one gutsy film.
CAPOTE
Sony Pictures Classics
A United Artists, Sony Pictures Classics presentation of an A-Line Pictures, Cooper's Town Productions, Infinity Media production
Credits:
Director: Bennett Miller
Writer: Dan Futterman
Based on the book by: Gerald Clarke
Producers: Caroline Baron, William Vince, Michael Ohoven
Executive producers: Don Futterman, Philip Seymour Hoffman, Kerry Rock, Danny Rosett
Director of photography: Adam Kimmel
Production designer: Jess Gonchor
Costumes: Kasia Walicka-Maimone
Music: Mychael Danna
Editor: Christopher Tellefsen
Cast:
Truman Capote: Philip Seymour Hoffman
Nelle Harper Lee: Catherine Keener
Perry Smith: Clifton Collins Jr.
Alvin Dewey: Chris Cooper
Jack Dunphy: Bruce Greenwood
William Shawn: Bob Balaban
Dick Hickock: Mark Pellegrino
MPAA rating R
Running time -- 115 minutes...
TORONTO - Just as Truman Capote's "In Cold Blood" represented something entirely new in American literature - a non-fiction novel, as Capote correctly called it - the movie "Capote" represents something unique in cinema. It's a hybrid that borrows from bio-pics, docu-dramas and the kind of true-life stories that turn up on television as MOWs. Unlike Capote's book, this film cannot claim to have invented a new genre. But "Capote" certainly expands the possibilities and extends the reach of cinema into the private creative and emotional lives of real people, both living and dead.
Most eye-catching for critics and audiences in the weeks to come will be Philip Seymour Hoffman's brilliant metamorphosis into the persona of the late author. Capote is a man easily imitated, yet hard to pin down, a slippery devil who took one guise after another to cover up the loneliness of his personal nature and his genius. Hoffman gets it all.
Sony Pictures Classics will rightfully hitch the film's marketing to this remarkable performance. Yet "Capote" is a team effort, involving an exceptional screenplay by Dan Futterman and a director, Bennett Miller, willing to move at a painstaking pace to make certain all the nuances, conflicts and contradictions get fully explored.
Yes, it is slow moving. The catastrophe of an answered prayer - a thing that Capote said causes more tears than an unanswered one - only gradually takes shape. The movie will probably not achieve the boxoffice success of Richard Brooks' 1967 movie version of "In Cold Blood" But it could break out of the art-house niche. Word of mouth, critical response and year-end awards may determine how far it does.
"Capote" is based on Gerald Clarke's biography of the writer, but the focus is deliberately narrow: The period of time covered is from 1959, when Truman notices a story about the murders of the Clutter family in Holcomb, Kansas, in the New York Times, to the execution of the killers in 1965. The publication of his book about the killings makes Capote the most famous author in America. This is a time when writers matter and bestsellers are not always self-help tomes or thrillers looking for movie sales.
Miller and Futterman carefully establish the time and place and situate their hero into two different Americas. One is New York literary society with its cocktail parties and witty banter, at which no one exceeds Truman Capote, a Southern, transparently gay writer with a high-pitched voice, exaggerated fey manners and an unmistakable ambition to achieve greatness in his writing.
The other is the Midwest, where Truman is not just a duck out of water, but a duck from outer space. No one knows what to make of him when he turns up accompanied by childhood friend, Harper Lee (Catherine Keener), soon to achieve her own fame with the publication of "To Kill a Mockingbird", but on this project serving as Truman's researcher and, as he puts it, "bodyguard."
Gradually, the pair gains the confidence of Alvin Dewey (Chris Cooper), a starchy Kansas Bureau of Investigation agent, and, when they are caught, the killers, Perry Smith (Clifton Collins Jr.) and Dick Hickock (Mark Pellegrino). Truman's outsider status, so peculiar to all these folks, sometimes works in his favor.
As Truman struggles to get interviews to compose "the book I was always meant to write," strange things happen. He develops a symbiotic relationship with Perry, a kindred soul in many ways, which is something like love yet blatantly exploitative. Equally as troubling is Truman's realization he has made a bargain with the Devil to write his great work. Dwelling mentally and spiritually with the killers takes a toll on him, increasing his already ingrained dependence on alcohol, shaking his relationship with his more stable lover Jack Dunphy (Bruce Geenwood) and unhinging the steadiness of his mind.
Finally, the film does rest on Hoffman's shoulders but Futterman's words, often cribbed from life, and the structure of his screenplay beautifully delineates all these developments.
This is a meticulous production where Jess Gonchor's set design tells us much about the people who inhabit these places and environments hauntingly photographed by Adam Kimmel have a powerful effect on people. Mychael Danna's muted score, relying heavily on the piano, never intrudes but only amplifies the dramatic content.
"Capote" is one gutsy film.
CAPOTE
Sony Pictures Classics
A United Artists, Sony Pictures Classics presentation of an A-Line Pictures, Cooper's Town Productions, Infinity Media production
Credits:
Director: Bennett Miller
Writer: Dan Futterman
Based on the book by: Gerald Clarke
Producers: Caroline Baron, William Vince, Michael Ohoven
Executive producers: Don Futterman, Philip Seymour Hoffman, Kerry Rock, Danny Rosett
Director of photography: Adam Kimmel
Production designer: Jess Gonchor
Costumes: Kasia Walicka-Maimone
Music: Mychael Danna
Editor: Christopher Tellefsen
Cast:
Truman Capote: Philip Seymour Hoffman
Nelle Harper Lee: Catherine Keener
Perry Smith: Clifton Collins Jr.
Alvin Dewey: Chris Cooper
Jack Dunphy: Bruce Greenwood
William Shawn: Bob Balaban
Dick Hickock: Mark Pellegrino
MPAA rating R
Running time -- 115 minutes...
- 10/27/2005
- The Hollywood Reporter - Movie News
This review was written for the festival screening of "Capote".
TORONTO - Just as Truman Capote's "In Cold Blood" represented something entirely new in American literature - a non-fiction novel, as Capote correctly called it - the movie "Capote" represents something unique in cinema. It's a hybrid that borrows from bio-pics, docu-dramas and the kind of true-life stories that turn up on television as MOWs. Unlike Capote's book, this film cannot claim to have invented a new genre. But "Capote" certainly expands the possibilities and extends the reach of cinema into the private create and emotional lives of real people, both living and dead.
Most eye-catching for critics and audiences in the weeks to come will be Philip Seymour Hoffman's brilliant metamorphosis into the persona of the late author. Capote is a man easily imitated, yet hard to pin down, a slippery devil who took one guise after another to cover up the loneliness of his personal nature and his genius. Hoffman gets it all.
Sony Pictures Classics will rightfully hitch the film's marketing to this remarkable performance. Yet "Capote" is a team effort, involving an exceptional screenplay by Dan Futterman and a director, Bennett Miller, willing to move at a painstaking pace to make certain all the nuances, conflicts and contradictions get fully explored.
Yes, it is slow moving. The catastrophe of an answered prayer - a thing that Capote said causes more tears than an unanswered one - only gradually takes shape. The movie will probably not achieve the boxoffice success of Richard Brooks' 1967 movie version of "In Cold Blood" But it could break out of the art-house niche. Word of mouth, critical response and year-end awards may determine how far it does.
"Capote" is based on Gerald Clarke's biography of the writer, but the focus is deliberately narrow: The period of time covered is from 1959, when Truman notices a story about the murders of the Clutter family in Holcomb, Kansas, in the New York Times, to the execution of the killers in 1965. The publication of his book about the killings makes Capote the most famous author in America. This is a time when writers matter and bestsellers are not always self-help tomes or thrillers looking for movie sales.
Miller and Futterman carefully establish the time and place and situate their hero into two different Americas. One is New York literary society with its cocktail parties and witty banter, at which no one exceeds Truman Capote, a Southern, transparently gay writer with a high-pitched voice, exaggerated fey manners and an unmistakable ambition to achieve greatness in his writing.
The other is the Midwest, where Truman is not just a duck out of water, but a duck from outer space. No one knows what to make of him when he turns up accompanied by childhood friend, Harper Lee (Catherine Keener), soon to achieve her own fame with the publication of "To Kill a Mockingbird", but on this project serving as Truman's researcher and, as he puts it, "bodyguard."
Gradually, the pair gains the confidence of Alvin Dewey (Chris Cooper), a starchy Kansas Bureau of Investigation agent, and, when they are caught, the killers, Perry Smith (Clifton Collins Jr.) and Dick Hickock (Mark Pellegrino). Truman's outsider status, so peculiar to all these folks, sometimes works in his favor.
As Truman struggles to get interviews to compose "the book I was always meant to write," strange things happen. He develops a symbiotic relationship with Perry, a kindred soul in many ways, which is something like love yet blatantly exploitative. Equally as troubling is Truman's realization he has made a bargain with the Devil to write his great work. Dwelling mentally and spiritually with the killers takes a toll on him, increasing his already ingrained dependence on alcohol, shaking his relationship with his more stable lover Jack Dunphy (Bruce Geenwood) and unhinging the steadiness of his mind.
Finally, the film does rest on Hoffman's shoulders but Futterman's words, often cribbed from life, and the structure of his screenplay beautifully delineates all these developments.
This is a meticulous production where Jess Gonchor's set design tells us much about the people who inhabit these places and environments hauntingly photographed by Adam Kimmel have a powerful effect on people. Mychael Danna's muted score, relying heavily on the piano, never intrudes but only amplifies the dramatic content.
"Capote" is one gutsy film.
CAPOTE
Sony Pictures Classics
A United Artists, Sony Pictures Classics presentation of an A-Line Pictures, Cooper's Town Productions, Infinity Media production
Credits:
Director: Bennett Miller
Writer: Dan Futterman
Based on the book by: Gerald Clarke
Producers: Caroline Baron, William Vince, Michael Ohoven
Executive producers: Don Futterman, Philip Seymour Hoffman, Kerry Rock, Danny Rosett
Director of photography: Adam Kimmel
Production designer: Jess Gonchor
Costumes: Kasia Walicka-Maimone
Music: Mychael Danna
Editor: Christopher Tellefsen
Cast:
Truman Capote: Philip Seymour Hoffman
Nelle Harper Lee: Catherine Keener
Perry Smith: Clifton Collins Jr.
Alvin Dewey: Chris Cooper
Jack Dunphy: Bruce Greenwood
William Shawn: Bob Balaban
Dick Hickock: Mark Pellegrino
MPAA rating R
Running time -- 115 minutes...
TORONTO - Just as Truman Capote's "In Cold Blood" represented something entirely new in American literature - a non-fiction novel, as Capote correctly called it - the movie "Capote" represents something unique in cinema. It's a hybrid that borrows from bio-pics, docu-dramas and the kind of true-life stories that turn up on television as MOWs. Unlike Capote's book, this film cannot claim to have invented a new genre. But "Capote" certainly expands the possibilities and extends the reach of cinema into the private create and emotional lives of real people, both living and dead.
Most eye-catching for critics and audiences in the weeks to come will be Philip Seymour Hoffman's brilliant metamorphosis into the persona of the late author. Capote is a man easily imitated, yet hard to pin down, a slippery devil who took one guise after another to cover up the loneliness of his personal nature and his genius. Hoffman gets it all.
Sony Pictures Classics will rightfully hitch the film's marketing to this remarkable performance. Yet "Capote" is a team effort, involving an exceptional screenplay by Dan Futterman and a director, Bennett Miller, willing to move at a painstaking pace to make certain all the nuances, conflicts and contradictions get fully explored.
Yes, it is slow moving. The catastrophe of an answered prayer - a thing that Capote said causes more tears than an unanswered one - only gradually takes shape. The movie will probably not achieve the boxoffice success of Richard Brooks' 1967 movie version of "In Cold Blood" But it could break out of the art-house niche. Word of mouth, critical response and year-end awards may determine how far it does.
"Capote" is based on Gerald Clarke's biography of the writer, but the focus is deliberately narrow: The period of time covered is from 1959, when Truman notices a story about the murders of the Clutter family in Holcomb, Kansas, in the New York Times, to the execution of the killers in 1965. The publication of his book about the killings makes Capote the most famous author in America. This is a time when writers matter and bestsellers are not always self-help tomes or thrillers looking for movie sales.
Miller and Futterman carefully establish the time and place and situate their hero into two different Americas. One is New York literary society with its cocktail parties and witty banter, at which no one exceeds Truman Capote, a Southern, transparently gay writer with a high-pitched voice, exaggerated fey manners and an unmistakable ambition to achieve greatness in his writing.
The other is the Midwest, where Truman is not just a duck out of water, but a duck from outer space. No one knows what to make of him when he turns up accompanied by childhood friend, Harper Lee (Catherine Keener), soon to achieve her own fame with the publication of "To Kill a Mockingbird", but on this project serving as Truman's researcher and, as he puts it, "bodyguard."
Gradually, the pair gains the confidence of Alvin Dewey (Chris Cooper), a starchy Kansas Bureau of Investigation agent, and, when they are caught, the killers, Perry Smith (Clifton Collins Jr.) and Dick Hickock (Mark Pellegrino). Truman's outsider status, so peculiar to all these folks, sometimes works in his favor.
As Truman struggles to get interviews to compose "the book I was always meant to write," strange things happen. He develops a symbiotic relationship with Perry, a kindred soul in many ways, which is something like love yet blatantly exploitative. Equally as troubling is Truman's realization he has made a bargain with the Devil to write his great work. Dwelling mentally and spiritually with the killers takes a toll on him, increasing his already ingrained dependence on alcohol, shaking his relationship with his more stable lover Jack Dunphy (Bruce Geenwood) and unhinging the steadiness of his mind.
Finally, the film does rest on Hoffman's shoulders but Futterman's words, often cribbed from life, and the structure of his screenplay beautifully delineates all these developments.
This is a meticulous production where Jess Gonchor's set design tells us much about the people who inhabit these places and environments hauntingly photographed by Adam Kimmel have a powerful effect on people. Mychael Danna's muted score, relying heavily on the piano, never intrudes but only amplifies the dramatic content.
"Capote" is one gutsy film.
CAPOTE
Sony Pictures Classics
A United Artists, Sony Pictures Classics presentation of an A-Line Pictures, Cooper's Town Productions, Infinity Media production
Credits:
Director: Bennett Miller
Writer: Dan Futterman
Based on the book by: Gerald Clarke
Producers: Caroline Baron, William Vince, Michael Ohoven
Executive producers: Don Futterman, Philip Seymour Hoffman, Kerry Rock, Danny Rosett
Director of photography: Adam Kimmel
Production designer: Jess Gonchor
Costumes: Kasia Walicka-Maimone
Music: Mychael Danna
Editor: Christopher Tellefsen
Cast:
Truman Capote: Philip Seymour Hoffman
Nelle Harper Lee: Catherine Keener
Perry Smith: Clifton Collins Jr.
Alvin Dewey: Chris Cooper
Jack Dunphy: Bruce Greenwood
William Shawn: Bob Balaban
Dick Hickock: Mark Pellegrino
MPAA rating R
Running time -- 115 minutes...
- 10/20/2005
- The Hollywood Reporter - Movie News
TORONTO - Just as Truman Capote's "In Cold Blood" represented something entirely new in American literature - a non-fiction novel, as Capote correctly called it - the movie "Capote" represents something unique in cinema. It's a hybrid that borrows from bio-pics, docu-dramas and the kind of true-life stories that turn up on television as MOWs. Unlike Capote's book, this film cannot claim to have invented a new genre. But "Capote" certainly expands the possibilities and extends the reach of cinema into the private create and emotional lives of real people, both living and dead.
Most eye-catching for critics and audiences in the weeks to come will be Philip Seymour Hoffman's brilliant metamorphosis into the persona of the late author. Capote is a man easily imitated, yet hard to pin down, a slippery devil who took one guise after another to cover up the loneliness of his personal nature and his genius. Hoffman gets it all.
Sony Pictures Classics will rightfully hitch the film's marketing to this remarkable performance. Yet "Capote" is a team effort, involving an exceptional screenplay by Dan Futterman and a director, Bennett Miller, willing to move at a painstaking pace to make certain all the nuances, conflicts and contradictions get fully explored.
Yes, it is slow moving. The catastrophe of an answered prayer - a thing that Capote said causes more tears than an unanswered one - only gradually takes shape. The movie will probably not achieve the boxoffice success of Richard Brooks' 1967 movie version of "In Cold Blood" But it could break out of the art-house niche. Word of mouth, critical response and year-end awards may determine how far it does.
"Capote" is based on Gerald Clarke's biography of the writer, but the focus is deliberately narrow: The period of time covered is from 1959, when Truman notices a story about the murders of the Clutter family in Holcomb, Kansas, in the New York Times, to the execution of the killers in 1965. The publication of his book about the killings makes Capote the most famous author in America. This is a time when writers matter and bestsellers are not always self-help tomes or thrillers looking for movie sales.
Miller and Futterman carefully establish the time and place and situate their hero into two different Americas. One is New York literary society with its cocktail parties and witty banter, at which no one exceeds Truman Capote, a Southern, transparently gay writer with a high-pitched voice, exaggerated fey manners and an unmistakable ambition to achieve greatness in his writing.
The other is the Midwest, where Truman is not just a duck out of water, but a duck from outer space. No one knows what to make of him when he turns up accompanied by childhood friend, Harper Lee (Catherine Keener), soon to achieve her own fame with the publication of "To Kill a Mockingbird", but on this project serving as Truman's researcher and, as he puts it, "bodyguard."
Gradually, the pair gains the confidence of Alvin Dewey (Chris Cooper), a starchy Kansas Bureau of Investigation agent, and, when they are caught, the killers, Perry Smith (Clifton Collins Jr.) and Dick Hickock (Mark Pellegrino). Truman's outsider status, so peculiar to all these folks, sometimes works in his favor.
As Truman struggles to get interviews to compose "the book I was always meant to write," strange things happen. He develops a symbiotic relationship with Perry, a kindred soul in many ways, which is something like love yet blatantly exploitative. Equally as troubling is Truman's realization he has made a bargain with the Devil to write his great work. Dwelling mentally and spiritually with the killers takes a toll on him, increasing his already ingrained dependence on alcohol, shaking his relationship with his more stable lover Jack Dunphy (Bruce Geenwood) and unhinging the steadiness of his mind.
Finally, the film does rest on Hoffman's shoulders but Futterman's words, often cribbed from life, and the structure of his screenplay beautifully delineates all these developments.
This is a meticulous production where Jess Gonchor's set design tells us much about the people who inhabit these places and environments hauntingly photographed by Adam Kimmel have a powerful effect on people. Mychael Danna's muted score, relying heavily on the piano, never intrudes but only amplifies the dramatic content.
"Capote" is one gutsy film.
CAPOTE
Sony Pictures Classics
A United Artists, Sony Pictures Classics presentation of an A-Line Pictures, Cooper's Town Productions, Infinity Media production
Credits:
Director: Bennett Miller
Writer: Dan Futterman
Based on the book by: Gerald Clarke
Producers: Caroline Baron, William Vince, Michael Ohoven
Executive producers: Don Futterman, Philip Seymour Hoffman, Kerry Rock, Danny Rosett
Director of photography: Adam Kimmel
Production designer: Jess Gonchor
Costumes: Kasia Walicka-Maimone
Music: Mychael Danna
Editor: Christopher Tellefsen
Cast:
Truman Capote: Philip Seymour Hoffman
Nelle Harper Lee: Catherine Keener
Perry Smith: Clifton Collins Jr.
Alvin Dewey: Chris Cooper
Jack Dunphy: Bruce Greenwood
William Shawn: Bob Balaban
Dick Hickock: Mark Pellegrino
MPAA rating R
Running time -- 115 minutes...
Most eye-catching for critics and audiences in the weeks to come will be Philip Seymour Hoffman's brilliant metamorphosis into the persona of the late author. Capote is a man easily imitated, yet hard to pin down, a slippery devil who took one guise after another to cover up the loneliness of his personal nature and his genius. Hoffman gets it all.
Sony Pictures Classics will rightfully hitch the film's marketing to this remarkable performance. Yet "Capote" is a team effort, involving an exceptional screenplay by Dan Futterman and a director, Bennett Miller, willing to move at a painstaking pace to make certain all the nuances, conflicts and contradictions get fully explored.
Yes, it is slow moving. The catastrophe of an answered prayer - a thing that Capote said causes more tears than an unanswered one - only gradually takes shape. The movie will probably not achieve the boxoffice success of Richard Brooks' 1967 movie version of "In Cold Blood" But it could break out of the art-house niche. Word of mouth, critical response and year-end awards may determine how far it does.
"Capote" is based on Gerald Clarke's biography of the writer, but the focus is deliberately narrow: The period of time covered is from 1959, when Truman notices a story about the murders of the Clutter family in Holcomb, Kansas, in the New York Times, to the execution of the killers in 1965. The publication of his book about the killings makes Capote the most famous author in America. This is a time when writers matter and bestsellers are not always self-help tomes or thrillers looking for movie sales.
Miller and Futterman carefully establish the time and place and situate their hero into two different Americas. One is New York literary society with its cocktail parties and witty banter, at which no one exceeds Truman Capote, a Southern, transparently gay writer with a high-pitched voice, exaggerated fey manners and an unmistakable ambition to achieve greatness in his writing.
The other is the Midwest, where Truman is not just a duck out of water, but a duck from outer space. No one knows what to make of him when he turns up accompanied by childhood friend, Harper Lee (Catherine Keener), soon to achieve her own fame with the publication of "To Kill a Mockingbird", but on this project serving as Truman's researcher and, as he puts it, "bodyguard."
Gradually, the pair gains the confidence of Alvin Dewey (Chris Cooper), a starchy Kansas Bureau of Investigation agent, and, when they are caught, the killers, Perry Smith (Clifton Collins Jr.) and Dick Hickock (Mark Pellegrino). Truman's outsider status, so peculiar to all these folks, sometimes works in his favor.
As Truman struggles to get interviews to compose "the book I was always meant to write," strange things happen. He develops a symbiotic relationship with Perry, a kindred soul in many ways, which is something like love yet blatantly exploitative. Equally as troubling is Truman's realization he has made a bargain with the Devil to write his great work. Dwelling mentally and spiritually with the killers takes a toll on him, increasing his already ingrained dependence on alcohol, shaking his relationship with his more stable lover Jack Dunphy (Bruce Geenwood) and unhinging the steadiness of his mind.
Finally, the film does rest on Hoffman's shoulders but Futterman's words, often cribbed from life, and the structure of his screenplay beautifully delineates all these developments.
This is a meticulous production where Jess Gonchor's set design tells us much about the people who inhabit these places and environments hauntingly photographed by Adam Kimmel have a powerful effect on people. Mychael Danna's muted score, relying heavily on the piano, never intrudes but only amplifies the dramatic content.
"Capote" is one gutsy film.
CAPOTE
Sony Pictures Classics
A United Artists, Sony Pictures Classics presentation of an A-Line Pictures, Cooper's Town Productions, Infinity Media production
Credits:
Director: Bennett Miller
Writer: Dan Futterman
Based on the book by: Gerald Clarke
Producers: Caroline Baron, William Vince, Michael Ohoven
Executive producers: Don Futterman, Philip Seymour Hoffman, Kerry Rock, Danny Rosett
Director of photography: Adam Kimmel
Production designer: Jess Gonchor
Costumes: Kasia Walicka-Maimone
Music: Mychael Danna
Editor: Christopher Tellefsen
Cast:
Truman Capote: Philip Seymour Hoffman
Nelle Harper Lee: Catherine Keener
Perry Smith: Clifton Collins Jr.
Alvin Dewey: Chris Cooper
Jack Dunphy: Bruce Greenwood
William Shawn: Bob Balaban
Dick Hickock: Mark Pellegrino
MPAA rating R
Running time -- 115 minutes...
Remakes can be curious entities, at times nothing so much as pallid retakes of the original effort.
However, in the case of the CBS miniseries "In Cold Blood", once again based on Truman Capote's pioneering true-crime masterpiece, the attempt yields something new and powerful. Though different in approach from the riveting black-and-white feature film that Richard Brooks directed in 1967, CBS' four-hour presentation with Anthony Edwards, Eric Roberts and Sam Neill is a spare yet resonant telling of evil at large.
With a minimum of dialogue and exposition, the latest "In Cold Blood" reveals itself an unadorned picture of bloody transgression and serrated sin loose in the heartland. By the artful absence of what is not said or shown, a kind of dramatic negative space, CBS' "In Cold Blood" hits with demanding force.
Here two losers become killers, pursued by those who are legally and ethically doing their job of policing. We meet those responsible for a case of murder in 1959, wherein a Kansas family was slaughtered while the rest of their farming community slept. And so we witness events leading up to this horrible slaying as well as the subsequent hunt by the Kansas Bureau of Investigations.
As judiciously scripted by Benedict Fitzgerald and discerningly directed by Jonathan Kaplan, we are fully plunged into the dark, unquiet world of death and violence where delusive dreams and unquenchable longing takes four lives.
Moreover, Edwards and Roberts, as the drifting killers plagued by sooty vagaries and grubby whims, make uncomfortably pressing the dumb nature of errant evil; the blank, dead-end ways of two men adrift in their own lives, cut off from the larger context of cause and effect. Perry Smith (Roberts) and Dick Hickock (Edwards) found one another while serving prison time.
Now out of the slammer, they are looking to pull off what Hickock sees as the big crime (he calls it "a cinch, a perfect score"), the two having sloppily schemed to rob well-off farmer Herb Clutter (Kevin Tighe), who supposedly has stashed his cash in a home safe. There will be no witnesses. Clutter and his kin are to be murdered once the money is gotten.
As Hickock and Smith roam the gamy side of the American Dream, Clutter and kin stand as the very model of homegrown purity and honor, churchgoers who have achieved much. Clutter is an inward but good man who works hard providing for his ill wife Bonnie (Gillian Barber) and their kids (Robbie Bowen, Margot Finley). But like all perfect families, there are imperfections under the patina.
And then all does comes to grief when, on a still Sunday in November, Smith and Hickock enter the Clutters' home, only to find there is no safe, no hidden money. The family is cruelly executed, and Hickock and Smith make off with $41. After passing some bum checks they head south to Mexico. Now KBI's Alvin Dewey (Neill), a methodical and deliberate man and a friend of the Clutters, dedicates himself to capturing the killers. As Dewey states at a press conference, "However long it takes, I'm going to know what happened in that house."
Insistent and unrelenting, this TV version of a wicked, bloody act is often difficult and disagreeable to watch; a rendering coolly and edgily conjured by production designer Mark Freeborn and crisply etched into memory by director of photography Peter Woeste's haunting and lyrical compositions.
Here the American scene looms with barren, empty remove, imbued with the tenebrous worry and moody loss of something painted by Edward Hopper. Bedrooms and roadside hash joints are like the peeling, forgotten chambers of the heart, dimly known and seldom ventured fully into. As well as the visuals, Hummie Mann's haunting score creates a penetrating presence of suffering and surrender, abandonment and desertion without absolution or relief.
IN COLD BLOOD
CBS
Pacific Motion Pictures
and Hallmark Entertainment
Executive producer Robert Halmi Sr.
Producer Tom Rowe
Associate producers George Horie, David W. Rose
Director Jonathan Kaplan
Writer Benedict Fitzgerald
Based on the book by Truman Capote
Music Hummie Mann
Production designer Mark Freeborn
Art director Scott Dobbie
Editor Michael Ornstein
Director of photography Peter Woeste
Casting Julie Selzer
Canadian casting Lynne Carrow
Cast: Anthony Edwards, Eric Roberts, Sam Neill, Leo Rossi, Kevin Tighe, Louise Latham, Gwen Verdon, Bethel Leslie, L.Q. Jones, Gillian Barber
Airdates: Sunday, November 24 and
Tuesday, November 26, 9-11 p.m.
However, in the case of the CBS miniseries "In Cold Blood", once again based on Truman Capote's pioneering true-crime masterpiece, the attempt yields something new and powerful. Though different in approach from the riveting black-and-white feature film that Richard Brooks directed in 1967, CBS' four-hour presentation with Anthony Edwards, Eric Roberts and Sam Neill is a spare yet resonant telling of evil at large.
With a minimum of dialogue and exposition, the latest "In Cold Blood" reveals itself an unadorned picture of bloody transgression and serrated sin loose in the heartland. By the artful absence of what is not said or shown, a kind of dramatic negative space, CBS' "In Cold Blood" hits with demanding force.
Here two losers become killers, pursued by those who are legally and ethically doing their job of policing. We meet those responsible for a case of murder in 1959, wherein a Kansas family was slaughtered while the rest of their farming community slept. And so we witness events leading up to this horrible slaying as well as the subsequent hunt by the Kansas Bureau of Investigations.
As judiciously scripted by Benedict Fitzgerald and discerningly directed by Jonathan Kaplan, we are fully plunged into the dark, unquiet world of death and violence where delusive dreams and unquenchable longing takes four lives.
Moreover, Edwards and Roberts, as the drifting killers plagued by sooty vagaries and grubby whims, make uncomfortably pressing the dumb nature of errant evil; the blank, dead-end ways of two men adrift in their own lives, cut off from the larger context of cause and effect. Perry Smith (Roberts) and Dick Hickock (Edwards) found one another while serving prison time.
Now out of the slammer, they are looking to pull off what Hickock sees as the big crime (he calls it "a cinch, a perfect score"), the two having sloppily schemed to rob well-off farmer Herb Clutter (Kevin Tighe), who supposedly has stashed his cash in a home safe. There will be no witnesses. Clutter and his kin are to be murdered once the money is gotten.
As Hickock and Smith roam the gamy side of the American Dream, Clutter and kin stand as the very model of homegrown purity and honor, churchgoers who have achieved much. Clutter is an inward but good man who works hard providing for his ill wife Bonnie (Gillian Barber) and their kids (Robbie Bowen, Margot Finley). But like all perfect families, there are imperfections under the patina.
And then all does comes to grief when, on a still Sunday in November, Smith and Hickock enter the Clutters' home, only to find there is no safe, no hidden money. The family is cruelly executed, and Hickock and Smith make off with $41. After passing some bum checks they head south to Mexico. Now KBI's Alvin Dewey (Neill), a methodical and deliberate man and a friend of the Clutters, dedicates himself to capturing the killers. As Dewey states at a press conference, "However long it takes, I'm going to know what happened in that house."
Insistent and unrelenting, this TV version of a wicked, bloody act is often difficult and disagreeable to watch; a rendering coolly and edgily conjured by production designer Mark Freeborn and crisply etched into memory by director of photography Peter Woeste's haunting and lyrical compositions.
Here the American scene looms with barren, empty remove, imbued with the tenebrous worry and moody loss of something painted by Edward Hopper. Bedrooms and roadside hash joints are like the peeling, forgotten chambers of the heart, dimly known and seldom ventured fully into. As well as the visuals, Hummie Mann's haunting score creates a penetrating presence of suffering and surrender, abandonment and desertion without absolution or relief.
IN COLD BLOOD
CBS
Pacific Motion Pictures
and Hallmark Entertainment
Executive producer Robert Halmi Sr.
Producer Tom Rowe
Associate producers George Horie, David W. Rose
Director Jonathan Kaplan
Writer Benedict Fitzgerald
Based on the book by Truman Capote
Music Hummie Mann
Production designer Mark Freeborn
Art director Scott Dobbie
Editor Michael Ornstein
Director of photography Peter Woeste
Casting Julie Selzer
Canadian casting Lynne Carrow
Cast: Anthony Edwards, Eric Roberts, Sam Neill, Leo Rossi, Kevin Tighe, Louise Latham, Gwen Verdon, Bethel Leslie, L.Q. Jones, Gillian Barber
Airdates: Sunday, November 24 and
Tuesday, November 26, 9-11 p.m.
- 11/21/1996
- The Hollywood Reporter - Movie News
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