Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.
At the height of his writing fame Truman Capote (Philip Seymour Hoffman) becomes captivated by a small story in the New York Times about a family of four murdered in their Kansas farmhouse by a shotgun at close range. The diminutive bespectacled author known up to this point for Breakfast at Tiffanys and writing about the New York social scene heads out to Kansas for The New Yorker magazine with his assistant Harper Lee (Catherine Keener) who would later write To Kill a Mockingbird. Lee helps Capote fit into the small town that is rocked by the murders and introduces Capote to the townsfolk including the investigator Alvin Dewey (Chris Cooper) who is hot on the trail of the killers Perry Smith (Clifton Collins Jr.) and Dick Hickock (Mark Pellegrino). Lee keeps Capote in check as does his editor William Shawn (Bob Balaban) and longtime partner Jack Dunphy (Bruce Greenwood). But Capote is transfixed by Smith and ends up spending a lot of time with him in jail after the trial. Inevitably the small Kansas town tragedy leads Capote to his definitive work In Cold Blood becoming an obsession for the self-indulgent author. Capote seemingly wants to help get Smith and Hickock an appeal after they are convicted to hang for the murders of the Clutter family. But truly he is more concerned with himself. He lies cajoles and fools himself as he toils over the book. He tells people rather callously that he hopes their appeals will end so he could have an ending to the book. And when they do hang Capote is there. But he never completes another book ever again.
After critics saw Hoffman's performance at the Toronto International Film Festival one of the prevailing thoughts is that he's this year's Jamie Foxx. He's the man to beat for the Best Actor Oscar for his spot-on portrayal of the irritatingly gifted writer who could get anyone to talk about anything. Hoffman is known for getting into his roles rather deeply but he can go overboard and has been known to milk his parts to the point of stealing attention away from everything else in the movie (think Cold Mountain or Red Dragon). But for Capote he's expected to be over the top. Not only will Hoffman most assuredly get a nomination but the movie could be a Best Picture contender as well as nominations for Keener Collins and Dan Futterman for the screenplay. Another nearly hidden but precious role is handled nicely by Amy Ryan as Marie Dewey the Kansas housewife who coos over Capote's visit to their community and ends up giving him the credibility to gain access to the mindset of the town.
Taking this true story to the big screen is certainly a challenge when you have the classic film In Cold Blood out there but Capote fills in a lot of the gaps that the previous film--and the book--leave out. And it is also telling that there are two films being been made about Capote during the time he wrote In Cold Blood. Have You Heard? starring Brit Toby Jones as the diminutive writer and Sandra Bullock as Harper Lee is due to be released in 2006. But Capote won the race--and could very well dampen the other's chances. Director Bennett Miller is old school chums with writer/actor Futterman and Hoffman--and Capote is obviously a labor of love between them. Futterman may get too wordy in a few of the scenes especially between Capote and Smith but under Miller's guidance they are tense moments nonetheless confined to a jail cell. Futterman had access to the actual letters between Capote and Smith and used them word for word in the script. Without comment Miller offers ugly sides to all the major characters and shows all of their duplicity in a stark and frank way. The film has a documentary feel to it sticking to the facts and avoiding any preachiness. It offers a window into the world of New Journalism and the poetic license seen in creative non-fiction and fictional biographies so prevalent today.