In Cold Blood

The Movie In Cold Blood mirrored the book because the plot was set up the same way. The specific plot allowed the viewers to understand Dick and Perry before the film revealed the motive of the Clutter murder. Dick was greedy, selfish and thought the laws didn’t apply to his charm; the world angered him because he believed it cheated him. Perry was more complex. He had trouble distinguishing between reality and the nightmare of his childhood. He didn’t understand right versus wrong and can be summed up in one word: crazy, but the viewer found sympathy with Perry after watching his past. If the viewers saw the murders at the beginning, they wouldn’t make sense to us. They assume that Dick killed the Clutters because he seemed so villainous and cocky. Perry seemed like a lost puppy who wanted a friend, home or purpose. The flashbacks showed the viewers the crazy and lost side of Perry; the side that killed the Clutters. The murder scene summed up everything in the movie and the plot and the motive finally made sense to them.

In contrast to Capote's depiction of Dick and Perry, Hall leaves more room for interpretation by the viewer. Capote is meticulous in his detail, following and describing ever aspect of Dick and Perry's actions. In Capote's detail he provides a more thorough characterization of Dick and Perry. This distinct characterization limits the interpretation and exploration of Dick and Perry's character and motive. Hall's presentation of Dick and Perry provides background information and shows situations that influence the characters but does not definitively define the good and bad in either character. Hall allows the characters to develop on their own with out pinpointing or defining points of change. Instead of offering subtle conclusions to every substantial event like Capote, Hall presents the events bluntly without meticulous detail. By not scrutinizing every aspect of every scene Hal gives the viewer more to ponder. Hall creates an experience that engages the viewer instead of informing them of what should be felt or interpreted.

Noting Capote's dedicated involvement, the 1967 In Cold Blood film adaptation builds honestly from the quality, best-selling novel, especially thanks to the accompanying film advantages. The movie’s inception blares harsh music and discordant horns, immediately setting the tone. Following that, Dick and Perry’s scenes induce suspense and tension with heart beat effects and a Sherlock-esque score, while the Clutters’ minimal scenes embrace milder choices, emphasizing their stereotypical family structure and status. The unsettling carnival-esque music behind Perry’s fantasies in particular noticeably plays off-key, reflecting the abnormality of Perry’s life altogether and showcasing the use of music helping further understand the characters. Moreover, the film’s hauntingly-silent climax relies on squeaky, wooden stairs and the killers’ heavy footsteps, along with vision limited to a single flash light. This choice allows viewers to experience the captivating, horrific night of the Clutter murders without over dramatic acting or unnecessary dins. Brooks’ engenius setup and detailed attention to each scene–such as the soft whispers of the wind—abet in enthralling and inviting viewers