Capote first saw Perry at the sheriff's house and said, "If you come any closer, I might kill you.
" It's no longer ordinary.
Although he was a writer for The New Yorker, who wrote "Breakfast at Tiffany's," and made his rounds between the banquets of the upper-class celebrities, it was only then that he really felt that his life was extraordinary.
Dangerous, exciting, fresh.
In prison, he fed Perry, who was on hunger strike, gave him the books he wanted, listened to his past, and helped him find the best lawyer to stall for time.
Is he just a greedy unscrupulous writer, or a man sinking into a dangerous relationship in the name of business?
I don't know the background, I don't know the real story, and I don't have the spirit of academic research.
From the film alone, I would rather believe that this is a love story, although it is unclear and unclear.
Perhaps, it is still an instinct to believe that people will not be so cold and ruthless, even for a cold-blooded killer.
I would like to believe that CaPote's pain and entanglement stem from the struggle of two equally fiery emotions deep inside. On the one hand, he and Perry have a resonance that no one else can understand, they are like brothers from a family, and he can understand the heartache he experienced as a child before he became the well-dressed and famous writer he is today. He provides an escape space for his stagnant life, where he is no longer ordinary, the only means of survival for prisoners facing death threats at that moment. How many people can resist this temptation: when the desperate person regards you as the last straw in life, clings to your existence, and in the existence of isolation, regards you as the light of hope and God. General presence. Most importantly, of course, he sees you as his only friend, the only one to open up to and talk to. How many people would face such a desperate person and ruthlessly take him as an object of use.
He still loves him more or less, at least, cares more or less about him. So he kept in touch with him, and kept in touch with him if he couldn't visit.
On the other hand, however, he was just digging
up material on Perry for his new book. All kindness and concern, perhaps to some extent, are goodwill in disguise, just to gain trust. Of course, I like to think it's the voice of Capote's inner conscience, who knows he's a ruthless killer who knows he shouldn't care or even fall in love with someone like that. So he tried to see him as an object of his work, a work object that took time and energy to defeat her defenses, so he lied to her, and after the applause at the recitation, he faced the people in front of him who were angry and frustrated Saying it was all the publisher's idea, and my new book is barely even written. He took advantage of him, for his own works and fame, for a greater sensation. For whatever reason, use is use. Capote looks down on Perry from a moral standpoint, he's a murderer, he deserves death, it's wrong to love him or even care about him, and there's nothing wrong with taking advantage of him.
The entanglement and fusion of these two emotions led Capote's life to come to an end from grandeur. He was torn by morals and emotions, he wanted him to live, more or less he felt that he wanted him to survive, so many years of investment made the two have feelings; he also wanted him to die, he thought Perry was sent to the gallows At the same time, he can unload the burden he bears and be freed from the entanglement of such complex emotions.
So when the last piece of content needed for the new work - the scene of the night of the crime - is complete, he has no reason to keep him, use him, or deceive him. So after he appealed to the Supreme Court, he categorically refused to provide lawyers to the two. After Perry was hanged, he refused to see him one last time, only to appear before him at the last moment before the execution.
He will never get out of this messy, complicated and tangled relationship in his life. Love and hate, reason and emotion, morality and heart. The appearance of Perry changed the trajectory of Capote's life. Perry is not born evil, it's just the family and the society that made him so, it's just that night, when he made all kinds of arrangements for the ransacked family - he took a pillow for the youngest son and told the husband and wife and children to be well Don't worry, when he discouraged his accomplice who wanted to rape his daughter, only to receive contempt, fear, and anger in response, he was ashamed that he had made these good people fear, and that these people could not see the hidden goodwill in people's hearts. Anger, so he brutally massacred the family of four. And Capote isn't inherently selfish either, it's just that the lavish New York city has made him lose his way and let him manipulate the man he's attracted to for a new book.
If everything were that simple, love would be loved, hatred would be hated, right would be right, wrong would be wrong, how much pain and entanglement would be saved in this world. And how many people linger all their lives for the right or wrong of a decision, and regret the eternal loss of another road because of the realization of one wish. He looked at his portrait on the train with a sense of loss, because he no longer knew where his heart wanted to go.
It is only when we make a choice, to actually have or get something, that we realize what we are missing on that path without a choice. That's why we shed more tears when dreams come true than when dreams come true.
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