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Infamous


kenmorefield
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I'm not saying that the timing for this film was bad, but, I think five people actually saw this film.

Oh, and how could the best resource on the web for Christian reviews get even better? More me! :)

Jeffrey, undeterred by my uncanny ability to pick movies that disappear before anyone actually sees them (I swear, Lake of Fire and Rescue Dawn really do exist), has kindly provided me with review space over at LC.

Peace.

Ken

P.S. When you write about movies nobody has seen (excepting Lake of Fire), you can pretty much say whatever you want and nobody can disagree with you. ;)

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I saw Infamous, It was amazing how so similar it was to Capote. How, after all this time could two projects so similar come out so close together? The amazing thing was this was even more dead on performance than Hoffma's.

Kenny

I'm not saying that the timing for this film was bad, but, I think five people actually saw this film.

Oh, and how could the best resource on the web for Christian reviews get even better? More me! :)

Jeffrey, undeterred by my uncanny ability to pick movies that disappear before anyone actually sees them (I swear, Lake of Fire and Rescue Dawn really do exist), has kindly provided me with review space over at LC.

Peace.

Ken

P.S. When you write about movies nobody has seen (excepting Lake of Fire), you can pretty much say whatever you want and nobody can disagree with you. ;)

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I think your review may explain why only five people saw Infamous. Good review, though. Makes me glad I saw Capote.

Edited by BethR

There is this difference between the growth of some human beings and that of others: in the one case it is a continuous dying, in the other a continuous resurrection. (George MacDonald, The Princess and Curdie)

Isn't narrative structure enough of an ideology for art? (Greg Wright)

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  • 3 years later...

Jonathan Rosenbaum:

Infamous – which claims to be based on George Plimpton’s Truman Capote, a collection of gossipy sound-bites assembled in the same manner as his “oral histories” about Edie Sedgwick and Robert F. Kennedy — was released a year after it was completed to avoid comparisons with Capote. Now that it’s out, comparisons are in order — and not all of them are to Capote’s advantage. For starters, Hoffman is more multilayered than Toby Jones as Capote, but Daniel Craig is more commanding than Clifton Collins Jr. as Perry Smith, one of the two killers in In Cold Blood. . . .

Infamous begins as a comedy about a mannered New York queen who gradually wins over stiff Kansas citizens and a recalcitrant and highly suspicious incarcerated killer (Smith), chiefly by dropping the names of celebrities he knows, like Bogie and Brando. I praised Capote for not making a big deal about Capote being gay, but it’s possible to see some merit in Infamous doing the reverse (though one prominent entertainment-news honcho reportedly complained that Jones’s Capote is “too gay,” which is a bit like complaining that water’s too wet). Capote’s homosexuality becomes most pertinent when the film switches from comedy to tragedy as he and Smith fall in love — an event only speculated about in the Clarke and Plimpton books. The film also gradually develops a multifaceted critique of Capote’s attempts to rationalize his writing a “nonfiction novel,” an effort criticized from the outset by Bullock’s Lee for distorting the truth. Yet the seriousness of this critique is compromised by the film’s use of the same sort of distortions. . . .

"Sympathy must precede belligerence. First I must understand the other, as it were, from the inside; then I can critique it from the outside. So many people skip right to the latter." -- Steven D. Greydanus
Now blogging at Patheos.com. I can also still be found at Facebook, Twitter and Flickr. See also my film journal.

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