35mm. In panavision, in the width of an admirable plastic conception (mainly due to Conrad Hall's cinematography) and intimately linked to its dramatic evolution, advancing to zones of increasing darkness, ending up in a dark hole that is humanity itself, the social that conditions, delimits and punishes it. As with the music, that evolves into an almost absolute silence, leaving only the rhythm of a heart to fade.
Truman Capote's audacity to develop a non-fiction state-of-the-nation crime novel was ground-breaking in the 1960s, even if conjecture remained regarding the reliability of some deductions. Complete objectivity is almost impossible, even within non-fiction. This accompanying adaptation transcends its 40s noir influence with the potency of caustic realism. Indispensable alongside Seymour Hoffman's role as 'Capote'.
An excellent accompaniment piece to Anatomy of a Murder. Both deal with American crime and justice with a objective factual eye, but In Cold Blood elevates itself to becoming a meditation on an entire nation. With some beautiful high contrast shots America becomes a strangely dystopian world, inhabited by two crooks indebted and plagued by their motherland. A fascinating character and country study.
Not engaged by this films first quarter but slowly drawn in and by the final third found it compelling. The title is of course ambiguous referring to murders committed by the individuals and the state which the film doesn't really tackle. Great performances though and direction. 3.5.