ISP Blog #4: Capote

In my last post I commented on how certain screenplays seem to just jump off the page and come alive in your mind. Capote, by Dan Futterman, is a perfect example of this enticing screenwriting. I was drawn into the narrative to such a degree that I actually began to visualize the scenes in my mind, creating a sort of imaginary movie to match the narrative of the screenplay. The experience was more comparable to reading a novel than reading a screenplay. Even the many minor characters in Capote were detailed, but the characters of Truman Capote and Perry Smith are both masterfully portrayed. Their shared hardships and their individual moral struggles are both portrayed in stark, unforgiving detail. The narrative drives the emotional plot forward at a relentless pace, to the point where it becomes difficult to read about such powerful emotions. The final scene, in which Perry is being led to the gallows, was so engaging that I literally couldn't tear my eyes away from the final dozen pages. The clever use of quick scene changes with short, but meaningful dialogue between Truman and Perry took care of that.
Capote is a shining example of what a screenplay should be; a mesmerizing, thoughtful, and effective story that captures the imagination of an audience. The only suggestion I have to make the screenplay better would be to introduce Truman in a bit more detail at the beginning of the screenplay. Futterman assumes that his audience already knows about Truman's life, which might leave some audience members in the dark. Other than that small correction, I wouldn't change a thing about Capote, for which Dan Futterman should receive credit for writing, what is in my opinion, one of the best screenplays ever.