Showing posts with label Truman Capote. Show all posts
Showing posts with label Truman Capote. Show all posts

Thursday, January 21, 2016

Four Shotgun Blasts, Six Dead



"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 or another."

Truman Capote, In Cold Blood (1966)

I suppose the fact that I grew up in a small town has something to do with it, but I always related to how Truman Capote described the town of Holcomb, Kansas, in his book about the murders of the members of the Clutter family in 1959.

My hometown has always been considerably larger than Holcomb, and my hometown is still a small town today, even though it is much larger than it was when I was growing up there. The folks in Holcomb probably would regard my hometown as a city, but it will have to get much bigger than it is today before it can justify being called a city. Until that day comes — and it may never come — my hometown is a small town, and what was true of Holcomb in 1959 is true of any place that qualifies as a small town.

I guess that explains why I have always found the descriptions of the town to be the most compelling parts of Truman Capote's "In Cold Blood," which was published in book form 50 years ago this month after running in a serialized form in The New Yorker.

After all, Capote's observations of small–town America — and how such a small town reacts to an event as horrific as the murders of four family members in their own home in the dead of night — are rooted in his experience. He was born in New Orleans, but he spent his formative years in tiny Monroeville, Ala., where he became friends with Harper Lee, the eventual author of "To Kill a Mockingbird" and Capote's assistant in his research for "In Cold Blood."

There was a time in my life when a senseless murder reverberated through my hometown. Having lived through that, I think I can imagine what it was like in Holcomb, Kansas in 1959.

"In Cold Blood" was truly a tragic tale, not just about the four lives that were taken in the middle of a November Kansas night but also about the two men who took them and the price they ultimately paid for it.

It was a powerful book, the book that defined Capote's life and career. My current copy of the book — and I have owned several over the years — is always on my desk because there are often times when I want to refer to it in one way or another or there are times when I simply want to confirm something that I know from having read the book so many times. Sometimes I just want to re–read certain passages.

(My current copy of "To Kill a Mockingbird" is always on my desk, too.)

I don't remember when I first read "In Cold Blood." College, probably. I read a lot of true crime books at that time — but I did read "Helter Skelter" when I was in high school so it is possible, but not probable, that I read "In Cold Blood" in high school.

Whenever I did read it for the first time, that is probably when I got my first copy of the book — because I have no memory of being assigned to read it in any sort of English class I ever took. Therefore, I must have chosen to read it, and I have seldom borrowed books from libraries. I usually buy them — paperbacks preferred, although they are no bargain these days.
"The village of Holcomb stands on the high wheat plains of western Kansas, a lonesome area that other Kansans call 'out there.' ... The land is flat, the views are awesomely extensive: horses, herds of cattle, a white cluster of grain elevators rising as gracefully as Greek temples are visible long before a traveler reaches them."

Truman Capote, In Cold Blood (1966)

So while I can't be sure when I first read it, I'm quite sure that, when I did, I did so on my own — independently of anything I did for school.

At this point, though, that really isn't important, is it?

I thought Capote summed things up very succinctly when he wrote of the events that transpired on that night in 1959: "Four shotgun blasts that, all told, ended six human lives."

That's what matters.

Sunday, November 24, 2013

Perhaps Satire of 'Beat the Devil' Eluded Audiences in '53



Billy Dannreuther (Humphrey Bogart): The only thing standing between you and a watery grave is your wits, and that's not my idea of adequate protection.

Satire isn't successful if the audience doesn't get it — and that, I have concluded, was the problem with "Beat the Devil."

I've heard that Humphrey Bogart loathed "Beat the Devil," which premiered on this day in 1953.

I'm not sure why that is so. Sadly, I can only conclude that it couldn't have been anything but the script — which, from the perspective of 60 years later, seems lively to me but may have been over the heads of moviegoers in 1953.

I've heard that Bogart hated it because he invested a lot of his own money in the project, and it didn't do too well at the box office. That's a more plausible reason than the others that come to mind, but it really only explains why Bogart didn't like it.

It couldn't be because of the director — John Huston. Bogart and Huston had worked together on at least three movies that are regarded as classics today. Clearly, Bogart didn't hate Huston, and neither did movie audiences.

It couldn't be the cast. Bogart worked with Peter Lorre on other projects. His history with Robert Morley wasn't as extensive so I don't know what kind of relationship they had, but they seemed to work well together in "The African Queen." And audiences seemed to like those stars.

He had no history at all — as far as I know — with Jennifer Jones or Gina Lollobrigida, but he seemed to have a pretty good personal chemistry with both of them. And moviegoers liked both of them, too.

Bogart successfully played parts in comedies, thrillers, film noir — all sorts of genres. Perhaps that was the problem with "Beat the Devil." It was many genres rolled into one. Film critic Roger Ebert observed that it was called "the first camp movie," and that is as good a description as any.

A "cult classic," Ebert had this to say about "Beat the Devil."
"John Huston's 'Beat the Devil' (1953) shows how much Hollywood has lost by devaluing its character actors. In an age when a $20 million star must be on the screen every second, this picture could not be made. Huston has stars, too: Bogart, Jennifer Jones, Gina Lollobrigida, but his movie is so funny because he throws them into the pot with a seedy gang of charlatans."

That seedy gang of characters included Lorre and Morley as half of a gang of four intent upon gaining access to uranium–rich deposits in Kenya. They find themselves stranded in Italy with Bogart and Lollobrigida while the steamer in which they are traveling is being repaired. They are joined by a British couple, played by Jones (in a blonde wig) and Edward Underdown.

Gwendolyn Chelm (Jennifer Jones): Harry, we must beware of these men. They are desperate characters.

Harry Chelm (Edward Underdown): What makes you say that?

Gwendolyn Chelm: Not one of them looked at my legs!

Actually, I don't really think of "Beat the Devil" as a Bogart movie. Sure, he was its primary star — and a recent Best Actor winner — but I think it was wrong for the people of that time to put so much stock in his role in it — if that is what they did — and what the critics of the time may have said about it.

It was really John Huston's film. He directed it, and he intended for it to be a parody of the film noir style that he pioneered. In that sense, it succeeded.

And Huston's fingerprints are all over it — his dry wit is evident from beginning to end. "Beat the Devil" is, basically, a comedy of errors. I can think of many similar movies but none that can be effectively compared to it. Huston's lively and socially aware script, which was co–written by Truman Capote, comments on a wide variety of subjects.

And, in the grand tradition of comedies of errors, "Beat the Devil" is a brilliant illustration of the old adage, "What a tangled web we weave ..."

This was the last time Bogart worked with Huston or Lorre.

(By the way, Philip Seymour Hoffman, in his Oscar–winning portrayal of Truman Capote, tells a story about the making of "Beat the Devil.")

Friday, December 14, 2012

Bringing a True Crime Classic to the Screen



Last spring, I finally saw the movie "Capote" and was inspired to re–read "In Cold Blood" during the summer.

I knew this year was the 45th anniversary of the premiere of the movie that was based on that book — that anniversary is today, by the way — so I knew that familiarizing myself with the book's content again would be useful, but it never occurred to me that there might be another reason for reading it again (well, aside from the fact that it's just a darn good book).

It isn't as if there was some new effort afoot to prove the killers' innocence. The two men who were convicted of the Kansas killings were executed nearly 50 years ago. As far as I know, there has never been any reason to doubt that they were guilty. No question about that.

Logically, that should have been the end of it.

I suppose, though, that my years of work in the news business should have told me that — potentially — nothing is ever really done in this world. (Several years ago, for example, authorities exhumed President Zachary Taylor to try to determine whether his death was due to natural causes or foul play. Taylor died more than 150 years ago.)

And, sure enough, the "In Cold Blood" case is back in the news — just in time for the anniversary of the movie's debut.

It was revealed a couple of weeks ago that authorities wanted to exhume the killers' remains to retrieve DNA samples.

No one is trying to disprove the conclusion of the Kansas jury that convicted them and sentenced them to death for killing the Clutter family in November 1959. Rather, the emphasis is on a similar case in Florida about a month later.

Truman Capote's book mentions the killers' travels after the Kansas murders, including a time when they were in Florida. The two were considered suspects in the Florida murders, but they were ruled out when they passed the lie detector tests of the day.

Now the Florida case is being examined again — and at least one area newspaper, the Sarasota (Fla.) Herald–Tribune, doubts that the two events are connected.

Well, that's another topic — to be resolved at a later date.

Today's topic is the 45th anniversary of the premiere of the movie that was based on "In Cold Blood," and moviegoers who hadn't read Capote's book probably had no idea that the killers ever went to Florida after they killed the Clutter family in Kansas.

It was never mentioned in the movie.

And there have been allegations for years that Capote invented some things to fit the story he wanted to tell. It was, as he described it, a "nonfiction novel," the story of an actual event but with many of its elements novelized — conversations, the sequence of events, etc.

In short, there are reasons to doubt that "In Cold Blood" told the whole truth.

But, even if it wasn't the whole truth, it still was a compelling story. The physical evidence of the killers' guilt is overwhelming so there is no reason to think the wrong men paid for the crimes.

And if Alvin Dewey, the investigator who pursued the killers, was as determined as John Forsythe portrayed him to be, few were going to quibble about the details of conversations or personalities.

I get the impression from what I have read that Dewey, who died in 1987, was, indeed, a dedicated lawman — and he may well have been a friend of the Clutter patriarch, Herb Clutter, and, as such, may have been particularly motivated to find his killers.

But Dewey also was a friend of Capote's — well, he became one in the course of Capote's research into the case — and it is possible, even likely, that remarks he made to Capote, whether speculative or factual, became part of the narrative.

It is also possible, as the Lawrence (Kans.) Journal–World pointed out more than seven years ago, that the Alvin Dewey of Capote's book was a composite character, combining the heroic efforts of several investigators into one character.

By nearly all accounts, Dewey was a driven, dedicated lawman, and the success of "In Cold Blood" brought him worldwide recognition. But his glowing literary treatment may simply have been the result of good P.R. Even if he didn't know that the book would become the best–selling true crime book of all time, Dewey may have been savvy enough to know the value of any good publicity.

And Capote was only too willing to provide it. Capote "needed a primary character," a retired police officer told the Journal–World.

Well, he sure got one with Alvin Dewey.

And he provided the model true crime writers have been following ever since.

Wednesday, June 22, 2011

Death By Laughter



I have mentioned before that my parents were devoted fans of the murder mystery.

They were familiar with all of the great literary and film detectives, and they passed along a fondness for the genre to me — along with a collection of paperback novels by Agatha Christie, which are still in the book collection on my shelves today.

In fact, they were so familiar with the genre that they got every joke, every reference that Neil Simon wrote into his entertaining cinematic spoof of murder mysteries, "Murder By Death," which premiered 35 years ago tomorrow.

That was a definite plus for me. I remember seeing the movie with them and then having them explain the jokes I didn't get after the movie was over.

I wound up returning to the theater to see the movie again (a couple of times) after they told me the inside jokes I had missed — and the movie actually inspired me to read some books I hadn't read before.

As a result, when I watch that movie now, I am filled with admiration for Simon's wit.

There really isn't much more to say about the plot of the movie. I mean, if you're familiar with the idiosyncrasies of the famous sleuths who were parodied, you will see that many of the devices Simon used were written primarily to set up the gags. But many of those set–ups were, themselves, inspired by the detectives' actual tendencies.

I would never suggest that it didn't take a lot of knowledge to write a clever script. It certainly did. Simon's a clever writer whose works have frequently been successes on Broadway — and, in 1976, there may have been no screenwriter who was as hot as Simon.

Nevertheless, it was a simple story. The world's greatest living detectives were invited to spend the weekend at the country home of a mysterious benefactor, where they would be treated to "dinner and a murder." The benefactor was played by Truman Capote, and he offered $1 million to any detective who could solve the crime.

His objective was to stump them all and claim the title of world's greatest detective for himself.

The rest of the film was a delightful collection of gags based on the eccentric behavior of the detectives and the writing habits of the authors who created them.

All that certainly had appeal for my parents — but I think what clinched the deal for them was the cast. They always had a particular fondness for British actors (I think that may have been due, in part, to the fact that they spent some time in Scotland after they were married), and "Murder By Death" was loaded with their favorites — Peter Sellers, David Niven, Alec Guinness, Maggie Smith, Elsa Lanchester.

They were great, as always.

But I think almost any actor would have been great with the lines Neil Simon gave them.

For some reason, I particularly liked the lines that were given to Peter Falk (who played a combination of Sam Spade and Richard Diamond in his unique Columbo style).
  • When asked if the blind butler (Guinness) was dead (the audience could see a knife protruding from his back), Falk replied, "With a thing like that in his back, in the long run, he's better off."

  • On another occasion, Falk made this observation about a locked door: "Locked ... from the inside. That can only mean one thing. And I don't know what it is."

  • Another time, upon rejoining his colleagues after a trip to the restroom, Diamond was told that there was a bullet hole in the back of his jacket.

    "You should see the other guy," he replied.

  • Then there was the time when he introduced his female companion as "my secretary and mistress."
Well, they all had great lines.

Oh, and who was crowned the world's greatest detective?

Well, no one, really. There was some question, you see, as to whether anyone had been killed or not.

"Was there a murder or wasn't there?" demanded Willie Wang, adopted son of Sidney Wang (a parody of Charlie Chan, played delightfully by Sellers) as they drove away from the country estate.

"Yes," Sidney replied. "Killed good weekend."

Perhaps — but the time in the theater was far from wasted. I didn't have to be a detective to deduce that.