In Cold Blood

A dark, nihilistic character study as well as an atmospheric film noir: "In Cold Blood" is excellent in all fronts. The portrait of the killers is built gradually and with minor dramatic explosions throughout the film's first two thirds (but in an extremely interesting manner), until the final 30' minutes pack an emotional wallop and offer food for thought aplenty. Brooks' direction and screenwriting are subtle but powerful, the acting strong and the cinematography haunting.

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Quintessential 1967 film, eschewing moods of the traditional and slightly more whimsical tones of the thrillers from the preceding few decades (especially in the glorious trash-treasure sequence) and the more realistic and stark tones soon to emerge from American cinema. Starts off well, but the last thirty minutes are a hell of a gut-punch. The editing (amongst cuts, fades, and order of scenes) is one of the MVPs here.

The movie adaptation of Truman Capote's In Cold Blood joined a contemporary wave of dramas centering on murdering scumbags as their protagonists, along with Bonnie and Clyde, Peckinpah's The Wild Bunch, the Brazilian The Red Light Bandit, etc. In Cold Blood is pretty slick and solid in every way, but at no point does it rise to real greatness.

Overwrought, verging on hokum. All the hammy match cuts and so forth. But the last 45 minutes or so is very good, including the re-enactment of the crime (which I didn't even think we were going to see, a la Reservoir Dogs). And all the cussin' and stuff was fun too--and I suppose pushed the envelope back then. A lot of well-known faces in cameos too. The two leads were very good--especially Scott Wilson; and I guess nobody thought of Blake as one of the Little Rascals again after this.

In Cold Blood is a chilling dive into humanity's darkest corners. Richard Brooks' precise direction and the harrowing performances of Robert Blake and Scott Wilson bring Truman Capote's true-crime masterpiece to life. Conrad Hall's stark black-and-white cinematography heightens the tension, casting an eerie pall over every frame. Unflinching yet restrained, the film is a gripping and engaging exploration of crime and consequence, leaving you both rattled and captivated.

Surpassed my expectations even knowing its rep (and the novel) - this film has aged beautifully. Has all the elegant formalism of the best of previous decades, but with the power of the realism and frankness that was to come. Must have felt like watching a dam burst for those who grew up on the Hays Code.

It's a beautifully constructed film with overlapping narratives and a complicated flashback structure. Conrad Hall's cinematography is absolutely stunning and a testament to artistic loss we all suffered when studios all but abandoned black and white immediately after this film. If I have any serious complaint, it's that the introduction of Paul Stewart's reporter character seems arbitrary as he's only really there to introduce an element of really phony Hollywood psychologizing and moralizing

I did like the book better but this was pretty good.

Slow-burning, but intense true crime story. The editing is intentionally jarring to disorient you throughout. While never sympathetic to the killers, this shows the increasing tension of a robbery that escalated fatally. Black and white was rarely used so expertly as it was here.

In Cold Blood is a relentless tale of neo-nior crime set against the small towns of America. The editing is nearly seamless, weaving something that is less film and more a tapestry of tragedy unfolding in real time. The quiet sounds of everyday life creep in, a constant reminder of the impact of the killing and the humanity lost. The acting is superb and the writing far ahead of it's time in sympathizing with what could be irredeemable villains. All in all just a great film.

Certainly ahead of its time.

Much superior to the book.

Viewed May 3, 2020.

this is a fake comparing with the book

capote'nin polisiye gerilimden azade tonuna -quincy jones'un melodilerinin ve ışık kullanımının da yardımıyla- zıt gidecekmiş gibi girişi, filmin zor bir uyarlamayı başararak hikayeyi kendi formunda yeniden kurabilecekmiş gibi hissettirdi. fakat sonrasında birebir olmasa da kitaba çok yakın giden anlatı capote'nin mükemmel biçimde başardığı şeyi kovalarken açıkta kalıyor. yukarıdakiler harici öne çıkan en önemli şey oyuncular.

Is blood cold? It's at least room temperature I would think.

Not as effective as Capote's novel, but most adaptations aren't. I thought the casting was well done. Blake and Nelson seem to fit the bill for Perry and Dick. Conrad Hall's cinematography makes for some nice shots. I wasn't a huge fan of the score. Some of the more surreal/dream-like sequences of the novel don't translate as well.

Appealing visuals and great score. But the story is linear and therefore could be told in a fraction of the time.

This movie sure knows how to save the best for last. Strikes a jarring, seemingly misguided tone at first, yet all is redeemed by a memorable final act that subtly captures the unsettling eeriness of Capote's excellent novel. Also sports the phenomenal lighting work of the great Conrad L. Hall; Blake's monologue as the rain's reflection streams down his face like a river of tears is truly one of the greatest shots I've ever seen. A flawed yet quietly powerful adaptation.

84.000

Porque esqueci de marcar de novo...

I haven't read the book, but this is a good movie on its own. It gives you a pretty interesting look at the psychology of the two main characters, and despite not being extremely graphic, it was still kind of uncomfortable to watch at times. But in a good way.

Chilling and atmospheric. A classic of the true crime genre.

A quasidoc based on Capote's best-seller report, Brooks' adaptation is not a masterpiece or a Hollywood unforgettable classic -- despite its 1940s noir resemblances and the predictably tense final moments --, but a well-acted, coldly refined and nearly great examination of these two well-known murderers.

In Cold Blood has an eeriness to it that most films fail at trying to accomplish. Robert Blake and Scott Wilson both play their roles perfectly and are simply two of the coolest guys I have ever watched in a movie. Both of them pull off the "not caring" attitude great, and both make it seem like what they were doing was totally logical. This is what gives the film such an intense feeling of passion for money, greed, and hate towards others, and how quickly situations can escalate.

A well-done thrilling screen adaption of the classic crime novel by Truman Capote. The cinematography with it's fast cuts and the film score gives you the creeps and I highly recommend it to anyone who has enjoyed the book.

The last 40 minutes are just perfect!

"One of the most creditable true-crime films ever made."

I don't know why, but for some reason this film never gets a nod for being one of the best films of the 1960's. It's story is based upon Truman Capote's best seller about the Clutter family massacre in Holcomb, Kansas in 1959. Almost everything about this film is first rate, the acting, screenplay, music score by Quincy Jones and most important of all, Conrad Hall's atmospheric black & white cinematography.

New Hollywood crime film with great jazzy score, stark B&W cinematography, creative editing and some powerful acting. Story itself ain't as interesting and powerful as I have expected.

Intense. Maybe too intense. Very well photographed.

Excellent story based on Truman Capote's book about a real event.Great performances all round make this a must see.

Nice Movie

A bit long.

Its hard for me to view In Cold Blood as I once did. I've read In Cold Blood and seen Capote and Infamous, and learned of the reasoning behind one of the most chilling and senseless crimes ever told in paperback. I first saw In Cold Blood before really visitng the backstory of the murder, and the effect it had on me was breathtaking. Roger Ebert describes Richard Brooks' fanatical attention to authentic detail in such a way that it makes viewing this film an even more haunting experiance. Conr

It's not the work of perfection that the "novel" is, but it's still an excellent, moving, and adept adaptation. The narrative plays out nicely, two stories (those of the murderers and the police after them) traveling along parallel paths until they finally meet towards the end. The black-and-white cinematography is perfect for this material, with the characters moving in and out of shadows.

This surprised me in a lot of ways. For one thing, I thought it was made in the 50's (shows how much I knew about the case, huh?). I didn't expect something so modern, so... artsy, for lack of a better word. Very stark images and interesting use of flashback/fantasy sequences, and of course Quincy Jones' jazzy score. The psychology is a bit annoying, but they don't overdo it. Excellent film.