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.
Cemetery crowding, especially in large cities or among religious groups that forbid cremation, is becoming a problem worldwide, forcing some creative solutions. Residents of Mexico City must exhume and remove their relatives’ remains after a number of years. A Tower for the Dead project is in the works there: it will include a vertical necropolis along with a subterranean complex 820 feet deep. A simpler solution is to stack graves on top of each other and to share tombstones. Other options being considered are stacking the dead above the ground in niches built into a wall or housing the dead in buildings with each floor resembling a traditional cemetery (AP).