Truman Capote

  • Beat the Devil (1953)

    Beat the Devil (1953)

    ByChristian Sauvé Movie Review

    (On TV, September 2020) I’m a bit surprised at how Beat the Devil doesn’t work as well as I was expecting. On paper, it looks like a slam-dunk: a comic adventure starring Humphrey Bogart (plus Jennifer Jones, Gina Lollobrigida and Peter Lorre!), directed by John Huston and co-written by Truman Capote, all taking place in exotic British East Africa. It’s explicitly made as a parody of earlier films, and concerns swindlers trying to claim uranium-rich lands. I mean, how can this fail to deliver? But it does—the herky-jerky script struggles with consistent tone (a likely artifact from having been reportedly rewritten on a daily basis), the comedy is weighted down by bland direction and the visual flourish of the film is nothing worth reporting on. Some of the film’s production history suggests that it was almost treated as a vacation by Huston, Bogart and others, and this lack of discipline clearly shows—it’s also unclear if Huston had a sense for comedy, as demonstrated by what Beat the Devil tries to pass off as funny. This being said, I’m putting an asterisk (*) here to revisit this film in a while, just to see if I either understand more about what it’s reputedly trying to parody, or if I’m in a potentially better mood to accept what’s going on here.

  • Murder by Death (1976)

    Murder by Death (1976)

    ByChristian Sauvé Movie Review

    (CTV Streaming, July 2020) I recall seeing bits and pieces of Murder by Death as a kid, so I was more than curious to re-watch the film, only remembering that it was about parodies of fictional detectives being set up to solve the perfect murder. Going in the film otherwise almost entirely unaware, I was amazed at the cast of the film: Peter Sellers, Alec Guiness, Peter Falk, David Niven, Maggie Smith and none other than a very young James Cromwell! Then I was bowled over once over again, as I recognized the archetypes they were playing—Falk imitating Humphrey Bogart’s Sam Spade, Niven as a pitch-perfect incarnation of William Powell’s Nick Charles, and so on. I could have done without the casual racism of Sellers’ Charlie Chan, but it does get us the rather wonderful spectacle of having him going toe-to-toe with his inspiration Alec Guiness in a scene or two. None other than Truman Capote shows up as the main antagonist of the film, setting up a perfect murder that none of the world-class detectives will be able to solve. As Murder by Death is working from a Neil Simon script, you can expect a steadily amusing script and dialogue—although the film doesn’t quite get as hilarious as it could have been. The structure of the story seems lopsided as well, with a very long time spent on introductions and setting up the premise, then zipping to a conclusion. It doesn’t get any better once we realize (after an android or two) that the film is absolutely not meant to make conventional narrative sense. There are six successive plot climaxes in a row getting more and more absurd, the joke being turned on the viewers expecting this comedy to make any kind of narrative sense. Murder by Death becomes a letdown after such a promising start, but the result is still worth a look if only for the cast and the playfulness of the script as it charges forward, determined to upend most expectations.

  • In Cold Blood (1967)

    In Cold Blood (1967)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, April 2019) 1967 was a remarkable year in American cinema history, as the tensions building up in the wake of freer social mores finally came to a head and ended up producing a landscape-shaking slate of films that are still being hailed today: Bonnie and Clyde, The Graduate, In the Heat of the Night, and so on. In Cold Blood isn’t so often mentioned in the same breath (it wasn’t nominated for a Best Picture Academy Award even if it got four other nominations) but probably should be, considering that its raw quasi-documentary style and downbeat tone both make it feel different from most of what came before in Hollywood history. It was clearly a neo-noir at a time when noir was barely defined—darker and harder than what the Production Code allowed in its depiction of crime and punishment. While adapted from a celebrated “no-fiction novel” by Truman Capote, no one will ever accuse the film adaptation of being a slavish copy: thanks to some very interesting directorial choices from writer-director/producer Richard Brooks, such as very stylish visuals, naturalistic approach and a soundtrack by Quincy Jones, it’s very much its own thing. In Cold Blood still feels fresh, and more unnerving than countless other mass-murderer thrillers.

  • Breakfast at Tiffany’s (1961)

    Breakfast at Tiffany’s (1961)

    ByChristian Sauvé Movie Review

    (On Cable TV, July 2013) The problem with not having seen some classic movies is that after finally watching them, you wonder what took you so long.  Breakfast at Tiffany’s is essential viewing for at least two reasons: First up would be Audrey Hepburn, as beautiful and lively in this film as she has been in 1961.  Photos of her in her “little black dress” may be iconic, but you have to see the film to understand what made her a star.  The second reason to see Breakfast at Tiffany’s would be her character, Holly Golightly: As the incarnation of a newly-created character in American culture (the single young girl, enjoying life in the city), Holly would end up being the template for decades of similar characters all the way to Sex and the City’s lead characters.  The impact of the film is considerable even today, and that’s partly why it can’t be missed even today.  (The showcase party sequence still feels surprisingly modern.) Ironically, the film also deserves to be seen for the ways in which it undermines its own cultural legacy: Golightly may have been made an object of admiration and imitation by latter generations of single women, but the film fairly clearly underlines the desperation of her life, meddling with the mob and borderline-prostitution in order to make ends meet, her bubbly facade barely concealing a child-like mind barely able to cope with her current situation.  A read of Truman Capote original bittersweet novella only serves to highlight the very thin veneer of fun that the film puts over a rather sad situation: it’s hard to watch the film’s happy ending and feel that it won’t last very long.  (It’s also hard to watch the film and not cringe at Mickey Rooney’s crudely stereotypical portrayal of a Japanese character: While that kind of thing may have been acceptable half a century ago, it’s the one single thing that most damages and dates the film.)  For all of these reasons, and probably a few more than I’m forgetting, Breakfast at Tiffany’s remains essential viewing well into the twenty-first century.