Infamous has a difficult comparison with the earlier "Capote." Still it is a different view of the same story and characters and is written with more emphasis on the perspectives of those who knew, or thought they knew, Capote. Toby Jones may not fully match the nuanced performance of Philip Seymour Hoffman but he does, possibly, a better imitation of Capote. Infamous has a better known cast of supporting players and they do a creditable job. Sandra Bullock's Harper Lee isn't the quite same as that portrayed so well by Catherine Keener in "Capote" but her character blends perfectly with the tone of "Infamous." Daniel Craig adds another fine acting turn as the "In Cold Blood" killer who receives the most attention. Even Gwyneth Paltrow makes an excellent impression in a brief opening scene as, apparently, singer Peggy Lee. (In the showing I saw, she was introduced as "Kitty Dean???") I wondered why another version of this story was filmed and it may not do well after the success of "Capote" but I was surprisingly entertained and intrigued by this movie.

Writer-director Douglas McGrath's new film about Truman Capote and the creation of his most famous book, "In Cold Blood," is full of contradictions and contrasts when compared with its predecessor, the 2005 film "Capote," that covers the same five-year period. Perhaps this is fitting. There may be some justice in the fact that these two filmic accounts of how Capote researched material for his magnum opus disagree significantly in emphasis and purported events.

After all, Capote used fictional methods to embellish - some might say falsify - his journalistic reportage on the murders of the Clutter family in Holcomb, Kansas, in 1959. If the screenplays for these two films tell differing stories of Capote's experience, does it matter if one is closer to the truth than the other? Or that we can't be sure - indeed, will never know - what actually occurred during many of the encounters between Capote, who was famous for fabricating yarns about his own life, and others out in Holcomb so long ago?

The films are each based on separate biographical accounts. "Capote" was adapted from Gerald Clarke's 1988 biography bearing the same title. "Infamous" is based on George Plimpton's 1997 book, "Truman Capote: In Which Various Friends, Enemies, Acquaintances and Detractors Recall His Turbulent Career," an account presented as a sequence of quotes from interviews Plimpton conducted with more than 150 people who knew Capote.

"Infamous" is far kinder to Capote than the earlier film, portraying him as quite clearly enamored of the killer Perry Smith (an ardor fully requited by Smith) and deeply anguished when Smith is executed. "Capote" depicts the author as more conniving, manipulative and disingenuous, willing to say or do anything to get Smith to spill his story, and withholding of possible interventions he - Capote - might have made to further delay or avert the executions of Smith and his accomplice, Dick Hickock.

In "Capote" the author's erotic attraction to Smith is more muted, hinted at, not acted upon. Indeed, "Infamous" is in general more explicit and direct in its portrayals, often more graphic if you will, than "Capote." Besides kisses and embraces between Capote and Smith, other scenes not covered in "Capote" include moments of violence when Smith virtually attacks Capote in his cell. We also witness the murders of the Clutters and Hickock's execution by hanging, including the protracted interval during which his body remains vertically suspended until he is finally declared dead by the attending physician.

There are other differences, for example, Capote's bid to establish rapport with the local Sheriff, Alvin Dewey, is depicted as much more problematic in "Infamous" than in "Capote." A plus for "Infamous" is its attention to Capote's relationships with a covey of New York society women known as his "swans," their adulation of him, his ability to coax them into sharing their secrets for his later use as gossip fodder. But, again, McGrath employs a graphic style to introduce us to these women, and several others in Capote's social circle, namely, the use of large white name titles as we first meet each, documentary style.

I find it impossible to resist comparing acting performances in the two productions. The more nuanced, oblique style of "Capote" is realized not only through its general avoidance of graphic scenes but in the greater subtlety of the two central actors' performances. In "Infamous," the English character actor Toby Jones physically resembles Capote more than does his counterpart in "Capote," Philip Seymour Hoffman. Both actors offer convincing personifications in voice and style. But I lean toward Hoffman's as the more complex, accomplished turn, characterized by critic Shawn Levy as "note-perfect." Levy goes on, "The wheezy laugh, the pain of work, the prying nature, the cold eye, the self-obsession, the ability to perform and ingratiate and wheedle - it's Capote you're watching up there…"

The brilliant English actor Daniel Craig gives a forceful, indeed galvanizing, performance as the killer, Perry Smith. But I think his mercurial, intensely melodramatic interpretation of his character is less convincing than his counterpart in "Capote," Clifton Collins, Jr. Collins's Smith is more introverted, by turns chilling or vulnerable to be sure, but for the most part quietly opaque, subdued, soulfully melancholic. For me this depiction is the more compelling and believable.

Other key performances are well delivered in both films: Catherine Keener ("Capote") and Sandra Bullock ("Infamous") as Harper Lee, though I liked Ms. Bullock's turn better; Chris Cooper ("Capote") and Jeff Daniels ("Infamous") as Sheriff Dewey. Capote's "swans" in "Infamous" are delightfully played by Sigourney Weaver, Juliet Stevenson, Hope Davis and Isabella Rossellini.

So we have two versions of the story of Capote's adventures in Kansas: both strong films, well cast, worthwhile. I think "Capote" is the better film because of its more subtle approach and the performances of the two central actors. As for realism in the interpretation of Truman Capote's character, perhaps the two portrayals taken together triangulate on the "real" Capote, a complex, convoluted personality as worthy of our sympathy as our contempt. My grades: 8/10 (high B+) (Seen on 10/10/06)

Greetings again from the darkness. What a unique film-going experience. Having the opportunity to see two takes on the same subject matter within a year or so is pretty rare in Hollywood. It happened most recently with "Tombstone" and the vastly inferior "Wyatt Earp". Rarely does it happen when both films are exceptionally well made and acted ... as is the case with last year's "Capote" and now, "Infamous".

First of all, you must understand that the films are actually based on different books. "Infamous" is based on George Plimpton's book in which he really tries to capture Truman Capote, the man and the genius. Because of this, director Douglas McGrath ("Nicholas Nickleby" and "Emma") utilizes some faux-interview segments, much like a "Biography" segment on television. Of course, both films center around the process of Capote researching and writing his masterpiece "In Cold Blood" based on the brutal slaying of a Kansas family in their farmhouse. They both also explore Capote's bizarre relationship with Perry Smith (played brilliantly here by the next James Bond, Daniel Craig). The sexual tension between the two is palpable, but we continue to question if Capote is merely manipulating Smith for the story or if, in fact, there is real substance to the attraction. We will never know if his reaction on death row is heartbreak or guilt. The mystery adds to the power of the story.

The cast in this film is nothing short of spectacular. From the opening moments with Gwyneth Paltrow portraying the great Peggy Lee in a melancholy stage moment to Sigourney Weaver, Hope Davis, Isabella Rossellini and Juliet Stevenson doing the twist, the actresses are terrific - as are their amazing costumes! In addition to Daniel Craig as Perry Smith, Lee Pace (as Dick Hickcock), Jeff Daniels as the sheriff and ("Last Picture Show" director) Peter Bogdanovich as Bennett Cerf, the actors are also top notch.

Toby Jones as Truman Capote is much more flamboyant and colorful than the amazing performance by Phillip Seymour Hoffman last year. Many will try to compare, but what I say is, enjoy them both for their high level of artistry! Now for something I never thought I would put in writing. Sandra Bullock is extremely effective as Nelle Harper Lee (Capote's muse and of course, the author of "To Kill a Mockingbird"). Bullock usually flips her hair and bumbles all cutesy-like through her performances, but not here. She plays Ms. Lee straightforward and tough, just like the real thing. How wonderful.

Yes, the story is still heart-wrenching, but "Infamous" provides much more levity, humor and color than the more somber "Capote". Both are wonderful films with excellent casts. Enjoy them both as fine film-making seems to be a rare commodity these days.