A sangue freddo

Many films are derived from novels and, in the normal way, it is unhelpful to compare the movie with the book, for the obvious reason that they are distinct art-forms, constrained by different technical limitations. However, this one really does have to be understood in the context of the book which engendered it.

Capote's book is a factual account of a multiple murder in a small Kansas town. Two young drifters plan a robbery which misfires and ends in violence. The book traces the course of the patient investigation which eventually brings the killers to justice. Because the book is a species of journalism, uncompromisingly anchored in fact, the film cannot help but follow suit, with the added burden that it must faithfully represent on the screen real persons, places and events.

The mean lives of Dick Hickock and Perry Smith are documented in stark monochrome. Panavision is used to powerful effect to show the wide, flat spaces of Kansas. Quincy Jones's atmospheric jazz score adds salt to the bleak images. The austerity of blue collar life in the Mid West of the 1950's is splendidly evoked as our two delinquents move through a rolling montage of Travelodges and diners, launderettes and interstates.

This is a film of straight lines. The flat, relentless landscape of Kansas generates horizons that are ruler-straight. Roads stretch into the distance without the hint of a curve. Slat blinds cast harsh bars of light across room interiors. The penitentiary scene is a symphony of geometric lines. Hickock and Smith have had their characters forged by incarceration, and we see that their 'outside' lives are, in a real sense, another form of imprisonment. The lines which enclose them denote the hopelessness of their existence.

The starkness is reinforced by neat, economical editing. The throwing of a light switch in the Hickock farmhouse carries us to the Clutter home, where a light is being turned on, and the words 'any crowded street' whisk us into just such a street. A cigarette butt is discarded, and its ugly cylinder becomes an electromagnet searching for the murder weapon. The Clutters' cleaner realises that a radio has been stolen, and we see the radio playing at Dick's bedside.

Once under arrest, Dick makes a powerful speech about tattoos. The detectives are trying to provoke him by sneering at his 'body art' and he points out that we all carry tattoos of some kind. Our dress, speech and attitudes mark us indelibly and fix us in our time and place.

Herb Clutter and his family lead a spartan home life. The farmhouse is spare and unadorned, but its order and solidity make a sharp contrast with the chaos and squalor of the rented rooms where Dick and Perry hole up. Dick 'hangs paper' (passes dud cheques) in respectable Kansas stores, amassing clothes and electrical goods on a spree which exploits the trust between vendor and consumer and uses it as a weapon - Dick and Perry's revenge upon 'decent' America.

Once the arrests have been made and a trial scheduled, the film switches to a voice-over narration. No doubt this was done in order to shorten the custody passage (this is extensive in the book, but does not lend itself readily to film treatment), but it jars. Up to this point, Hickock and Smith have told their story through action. Narration is second-best.

However, the film is a highly-reliable rendition of the book, and contains some impressive touches. Mail bags come somersaulting from the hurtling express-train like so much tumbleweed. The rapid crossfire of the detectives' press conference conveys a lot of important information to the viewer in an economical way. A detective talks us through a psychological profile of the as yet unknown killers, and it is very persuasive. While our two heroes are lying low in Mexico, a beautiful mariachi song accompanies a bedroom scene, the music evoking a sense of loss and regret, and leading naturally to Perry's flashback memories of his mother's degradation.

To ask if the film is as good as the book is meaningless, but it is certainly a highly-commendable reworking of the book in visual terms. The interplay between the two delinquents is first-class, the easy charm of Dick giving way at critical moments to naked fear of the inscrutable dreamer Perry.

I happened to be sitting in a lovely hotel room at a wonderful resort in the Ozarks, ready to go out on the boat after golfing 18 holes in fine weather, when I made the mistake of turning on the TV. One of the cable channels was screening "In Cold Blood." I watched the opening sequence. Despite the beautiful weather, and the girlfriend nagging at me to get up off the couch and go outside, I knew I wouldn't leave the room until the movie was over. I can't add much to the fine reviews by others, particularly the review by the gentleman from London, except to add that the dialogue in the movie is marvelous. The writer and director caught the laconic, spare speech of the Midwest. The questions and answers between the characters are perfect. (Paul Stewart, the reporter: "Don't the people in this town lock their doors?" John Forsythe, the detective: "They will tonight.") And the way Perry and Dick look at each other menacingly in critical situations gives one the chills. (Dick: "Don't worry baby; we left no living witnesses." Perry, staring at Dick: "I know one.") Of all the great performances in the film, my favorite is John Forsythe as the KBI detective who grows weary from contemplating the evil minds behind the murders of his Kansas neighbors, the Clutters. A close second among the great performances is Scott Wilson, who makes Dick a charming loser going nowhere in life, unable and unwilling to civilize himself to live in society.

Certainly this is one of the ten best movies ever made, and the best of all the "True Crime" movies. (The made-for-TV remake was a horrible, lame joke.) I just hope when it comes on again it's a miserable day outside so I don't miss out on the boating! Ed in St. Louis

I was a senior in high school in 1967 when I read a article in the May issue of Life magazine about In Cold Blood. On the front cover was a picture of Robert Blake, Truman Capote, and Scott Wilson. The background for the picture was a desolate Kansas wheat field. I can remember to this day reading about how the film was made in the house that the murders occurred, and even that the horse of Nancy Clutter was used in the film. The Life article showed comparisons of the actors and the actual persons. When the movie was released, I could not wait to go see it. This movie is just as haunting today as it was in 1968.I have seen In Cold Blood many times and will probably see it many more times.........one of my favorite movies of all time............When Robert Blake was going through the trial of the murder of his wife, I could not help but think about his role in this movie..........

Imagine turning out the lights in your remote farmhouse on a cold night, and then going to bed. There's no need to lock the doors. The only sound is the wind whistling through the trees. Sometime after midnight a car with lights off inches up the driveway. Moments later an intruder beams a flashlight into your darkened living room.

What makes this image so scary is the setting: a remote farmhouse ... at night. Based on Truman Capote's best-selling book, and with B&W lighting comparable to the best 1940's noir films, "In Cold Blood" presents a terrifying story, especially in that first Act, as the plot takes place largely at night and on rain drenched country roads. It's the stuff of nightmares. But this is no dream. The events really happened, in 1959.

Two con men with heads full of delusions kill an entire Kansas family, looking for a stash of cash that doesn't exist. Director Richard Brooks used the actual locations where the real-life events occurred, even the farmhouse ... and its interior! It makes for a memorable, and haunting, film.

Both of the lead actors closely resemble the two real-life killers. Robert Blake is more than convincing as Perry Smith, short and stocky with a bum leg, who dreams of finding Cortez' buried treasure. Scott Wilson is almost as good as Dick Hickock, the smooth-talking con artist with an all-American smile.

After their killing spree, the duo head to Mexico. Things go awry there, so they come back to the U.S., stealing cars, hitchhiking, and generally being miserable as they roam from place to place. But it's a fool's life, and the two outlaws soon regret their actions. The film's final twenty minutes are mesmerizing, as the rain falls, the rope tightens, and all we hear is the pounding of a beating heart.

Even with its somewhat mundane middle Act, "In Cold Blood" stages in riveting detail a real-life story that still hypnotizes, nearly half a century later. It's that setting that does it. Do you suppose people in rural Kansas still leave their doors unlocked ... at night?

The Coen brothers made a couple of films about crimes starting small and getting out of hand very quickly. Perhaps the best example is "Fargo" (1996).

"In cold blood" is different. From the very beginning two men are planning a cruel robbery and they intend to let no witnesses behind.

That the loot of all the violence amounts to a meager 43 dollars certainly gives a cynical touch to the story but the full amount of senselessness is expressed in the way the story is told. Using a technique from the horror genre which boils down to the principle that suggesting is often more effective than showing (see for example "Cat people", 1942, Jacques Tourneur), very little of the actual robbery is shown. Instead in the first half of the movie we see the criminals travelling to the place of the crime, doing perfectly normal things as drinking coffee in a diner but also bying a rope to tie down their victims. These scenes are alternated with images of the Clutter family (the victims) perfectly unaware of the danger that is (literally) approaching.

The black and white cinematography of Conrad Hall is breathtaking and the jazzy score of Quincy Jones is catching. And then the criminals have arrived at the Clutters home.

The headlights of the car go out.

The music stops.

And all we hear is the wind howling round the farm.

The second part of the film seems to be a plea against capital punishment. To be honest the first part of the film had made such an overwhelming impression on me that I was unabe to feel any compassion with the perpetrators. This is not to say that the second part of the movie does not have strong moments. Brilliant (and very well known) is the scene in which one of the perpetrators (Perry played by Robert Blake) is telling the story of his life. It looks as though he is crying, but in reality there are raindrops flowing on the window.

"In cold blood" is based on the non fiction novel of the same name by Truman Capote. The film manages to maintain some sort of documentary look and feel. This is done by filming on the location of the real Clutters farm but above all by not casting prominent stars in the lead roles.