Based on Gerald Clarke’s exhaustive biography, Bennett Miller’s Capote covers the six years that Truman Capote spent working on In Cold Blood. The film begins at a noisy New York cocktail party where Capote is the center of attention, regaling his friends with humorous anecdotes and observations.
Behold, I am sending forth many fishers, says the Lord, and they shall catch them. (Jeremiah 16:16)
And he said to them, “Follow me, and I will make youfishers of men.” (Matthew 4:19)
At noon the Church of the Epiphany, on this the long anticipated Date with Destiny on which we’re told the Fate of Almost All depends, is strangely free of angst. The good-sized crowd is here to see a choir perform Cantata Eighty Eight and hear Johann the angel Bach relate a snatch of puzzling Bible history: God is at first an angry fisherman who hunts in righteous wrath our sinful kind but then Christ stoops and speaks, wrath is undone by love, reality is redefined, Ohio pales, the stained glass glows blood red, the hapless fish are named, called, calmed and fed.
When he wrote Oliver Twist in 1837, Charles Dickens had a cause: he was protesting the harsh and unjust treatment of children in England. His depiction of the situation was searing—more so than the best-known movie adaptations.
Mark Bustos, a stylist at an upscale salon in Manhattan, gives free haircuts to homeless people every Sunday, his only day off from work. He started the practice during a trip two years ago to the Philippines. The response was so enthusiastic that he decided to make the same offer in New York. Many of the people whose hair he cuts are very thankful. He especially remembers the man who, after seeing what he looked like with his new haircut, asked, “Do you know anyone that’s hiring?” (The Week, August 29).