In Cold Blood

Remarkable, disturbing film about the true-life, senseless, brutal murder of a small-town family, along with the aftermath, and examination of the lives of the killers, Dick Hickok and Perry Smith.

No matter how much time goes by, or how dated this film may look, it still resonates the utter incomprehensibility of criminal acts such as this.

This really traces multiple tragedies: The tragedy, brutality and senselessness of the murder of the Clutter family, a decent farm family in small-town Holcomb, Kansas; and the wasted, brutal and sad lives of Hickok and Smith.

An interesting point is made in the film: that neither of these two immature, scared, petty criminals would have ever contemplated going through with something like this alone. But, together, they created a dangerous, murderous collective personality; one that fed the needs and pathology of each of them. They push each other along a road of "proving" something to each other. That they were man enough to do it, to carry it out; neither wants to be seen as too cowardly to complete their big "score"; an unfortunate and dangerous residue of the desolate lives they led. These were two grown-up children, who live in a criminal's world of not backing down from dares; who constantly need to prove manhood and toughness. in this instance, these needs carried right through to the murder of the Clutters.

The film contains a somewhat sentimentalized look at the Clutter family, but the point is made. These were respected, law-abiding, small-town people, who didn't deserve this terrifying fate. The movie also gives us a sense of the young lives of Hickok and Smith. Perry Smith, whose early life was filled with security and love, but watched in horror as alcohol took his family down a tragic path. Hickok, poor and left pretty much to his own devices, not able to see how he fit in, using his intelligence and charm to con everyone he came into contact with.

An interesting, and maybe the first, look at capital punishment, and what ends we hope to achieve. Is this nothing more than revenge killing for a murder that rocked a nation at a time when we had not yet had to fully face that there might be such predators among us, or does putting these guys at the end of a rope truly provide a deterent to the childish and brutal posturing of men like these? Is it possible to deter men who live lives of deceit, operating under the radar, believing they fool everyone they come into contact with? To be deterred, you must believe it's possible you will be caught. Is it possible to deter these men who believe they are too clever to be caught?; who have committed hundreds of petty crimes, and got away with them? This was supposed to be a "cinch", "no witnesses".

When caught, Hickok finds he can't charm and con the agents the way he had department store clerks. Smith, who believes he deserves such a fate anyway, who seemed to be the only one who truly grasped the gravity of what they had done, willingly tells the story when he learns that Hickok has cowardly caved in. Hickok blinked first. A silly game of chicken between two immature, emotionally damaged, dangerous men.

Fascinating psychological thriller, telling a story of a horrendous crime in this nation's history. Stunning portrayals by Robert Blake and Scott Wilson. These roles made their careers.

Although it was released way back in 1967, IN COLD BLOOD still remains the benchmark by which all true-crime films are matched. Veteran writer/director Richard Brooks (ELMER GANTRY) adapted Truman Capote's non-fiction book into a chilling docudrama that retains a disturbing power even today, thirty-five years later.

Robert Blake and Scott Wilson portray Perry Smith and Dick Hickock, two ex-cons who, on a tip from Hicock's old cellmate Floyd Wells, broke into the Holcomb, Kansas home of Herbert Clutter, looking for a wall safe supposedly containing $10,000. But no safe was ever found, and the two men instead wound up killing Mr. Clutter, his wife, and their two children, getting away with only a radio, a pair of binoculars, and a lousy forty dollars. Two months on the run, including an aimless "vacation" in northern Mexico, ended in Las Vegas when cops caught them in a stolen car. But it eventually comes out, after merciless grilling by Kansas law enforcement officials, that these two men committed that heinous crime in Holcomb. Tried and convicted on four counts of murder, they stew in jail over a five-year period of appeals and denials until both are hanged to death on April 14, 1965.

Blake and Smith are absolutely chilling as the two dispassionate killers who show no remorse for what they've done but are concerned about getting caught. John Forsythe also does a good turn as Alvin Dewey, the chief detective investigating the crime, as does Gerald S. O'Laughlin as his assistant. In a tactic that is both faithful to Capote's book and a good artistic gambit all around, Brooks does not show the murders at the beginning; instead, he shows the two killers pulling up to the Clutter house as the last light goes out, then cuts to the next morning and the horrifying discovery of the bodies. Only during the ride back to Kansas, when Blake is questioned by Forsythe and narrates the story, do we see the true horror of what happened that night. We don't see that much blood being spilled in these scenes, but we don't need to. The shotgun blasts and the horrified look on the Clutters' faces as they know they are about to die are more than disturbing enough, so there is no need to resort to explicitly bloody slasher-film violence.

Brooks wisely filmed IN COLD BLOOD in stark black-and-white, and the results are excellent thanks to Conrad Hall's expertise. The chilling jazz score by Quincy Jones is the capper. The end result is one of the most unsettling films of any kind ever made, devastating in its own low-key fashion. It is a 134-minute study of a crime that shook an entire state and indeed an entire nation, and should be seen, though viewer discretion is advised; the 'R' rating is there for a reason.

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?

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

In the year 2006, "In Cold Blood"-a riveting thriller from 1967-has two new interesting contexts that it did not previous have. First, and most chillingly, is the fact that it's star, Robert Blake, was recently on trial for murdering his wife. Second, the recent Oscar winning biopic, "Capote" showed the muddled back story of this haunting true crime tale's author, Truman Capote. These two new twists make the film timely for a modern audience.

As a stand alone film from it's era, "In Cold Blood" is top notch in every way. Most notable is the stunning black and white cinematography from Conrad Hall (later of "American Beauty" and "Road to Perdition" fame). Many of the stills from this film of the Kansas farm house at night or the tree-lined back country roads could be sold as fine art photography. Combined with the cracker-jack direction from Brooks and superb editing in the early scenes (where we see the mundane daily life of the innocent family about to be senselessly slaughtered beautifully intertwined with the plotting of the two hapless killers), a rich brooding atmosphere is created that sets the stage for riveting suspense (even when everyone knows how this is all going to end due to the fact its all based on real life events). It's also great to see in this day and age how brilliantly staged a harrowing murder scene can be depicted where the graphic nature of the act is transmitted to the viewer subliminally with nary a drop of blood shown on screen.

The film is also anchored nicely by Robert Blake's eerie performance as the more sympathetic yet senselessly brutal side of the killing duo. The flashback scenes to his horrible childhood are extremely well done. Then there is the scene towards the end of the film where he is speaking to the reverend before being sent to the gallows and he makes his last "confession" so to speak. It's one of those classic movie moments that is a perfect marriage of gritty acting, superb writing, flawless direction, and haunting photography. I dare you to erase from your mind the stark image of the rain's reflection from the window flowing down Robert Blake's pallid face in lieu of actual tears.

The only thing hampering "In Cold Blood" is the slow moving middle act where the killers are on the lam and the forced nature of the social commentary at the end. The tacked-on political message about the death penalty is secondary to its compelling depiction of the mad killers and their prey.