First published as a four-part serial in The New Yorker, beginning with the September 25, 1965 issue, Truman Capote’s In Cold Blood, was an immediate sensation. In what Capote coined a non-fiction novel, the story which details the murders of four members of the Clutter family in the small farming community of Holcomb, Kansas. The book, published in 1966, discussed issues previously accepted as taboo. It was inevitable that Hollywood come calling. The film was released in 1967, received four Oscar nominations and was selected for preservation in the United States National Film Registry by the Library of Congress in 2008.

In 1959, ex-cons Dick Hickock (Scott Wilson) and Perry Smith (Robert Blake) drove across Kansas in search of the perfect score. Dick heard from a former a former cellmate that a wealthy farmer there, Herb Clutter (John McLiam) kept a safe in his home containing a large amount of money. When the search for a safe came up dry, the pair murdered Herbert, his wife Bonnie (Ruth Storey), daughter Nancy (Brenda C. Currin) and son Kenyon (Paul Hough).

Chosen by personally by Capote, screenwriter/director Richard Brooks stays true to the realistic feel of the book, shooting the film in black-and-white to heighten the tension. The opening scenes of the film create a sense of dread with little effort; Brooks acknowledges that we know what’s coming. Which is why in a film that does almost everything right, a scene in which Herb Clutter meets with a life insurance salesman comes off as awkward.

When the pair arrives at the Clutter home in darkness (Brooks shot in this and several other real locations), Brooks doesn’t follow them into the home; he cuts to the next morning, when the bodies are discovered, nor does he reveal exactly what happened inside until much later, through a flashback. Once the bodies are found, In Cold Blood goes into full police procedural mode. The Kansas Bureau of Investigation, led by Alvin Dewey (John Forsythe) works to track down the killers. With Dewey’s orderly investigative methods established, the film crosscuts between the investigation and Hickock and Smith’s half-baked attempt at an escape. As the net around the killers gets tighter, the narrative follows.

Brooks wisely downplays the sensationalism of the story, in favor of using some sort of visual cue, or even just a word to change a scene or its tone. As with Capote, Richard Brooks’ focus is to take us into the minds and psyches of these two criminals. Even showing the significant difference between Hickock and Smith.

Though Blake first gained notoriety as a child for his work on Our Gang and later achieved stardom on TV’s Baretta, his work as Perry Smith may be his best. Often possessing a flat affect and clearly a tortured soul, he’s absolutely chilling. As in the book, he’s portrayed more sympathetically than Dick, who Wilson plays with a combination of tough guy swagger and inherent cowardice. Unlikeable to the core, he says of the young Clutter daughter he’s accused of murdering, “”They’re never too young.”

The studio had wanted to hire Paul Newman and Steven McQueen for the lead roles, but Brooks insisted on relative unknowns which proved a master stroke. Blake’s Perry Smith comes across as more of a thinker than Dick and yet he seems fully capable of falling into a sudden and violent rage. Wilson’s Dick Hickock is convincingly cocky, never letting his guard down. John Forsythe is also good as Alvin Dewey, often talking with Jensen (Paul Stewart) a reporter invented by Brooks for narrative purposes. Praise also goes to celebrated cinematographer Conrad Hall for his use of light and shading to create tension throughout the film. Nearly fifty years after its release, Truman Capote’s In Cold Blood has lost none of its edge and comes highly recommended.

Presented in the 2.35:1 aspect ratio, Criterion’s new 4K digital restoration looks outstanding on DVD. The picture is remarkably crisp and detail and contrast are impressive. All of this really points out just how good Conrad Hall’s cinematography on the film was. For a DVD, this is as good as it gets.

The 5.1 surround track is top notch. It’s full and dynamic. Dialogue is clean and clear throughout and the front channels are used effectively. There’s a surprising amount of low-end at times and Quincy Jones’ regularly haunting score sounds very good.

English Subtitles are included.

The following extras are available:

  • Interview with Cinematographer John Bailey (27:04) In this new interview, Bailey discusses Conrad Hall’s work on the film. Clearly an admirer, he explains the brilliance of what Hall was able to do, in an effort to create a certain mood or look.
  • Interview with Film Historian Bobbie O’Steen (14:36) In this new interview, O’Steen discusses the film editing, which offers some interesting insights.
  • Interview with Film Critic and Jazz Historian Gary Giddins (21:09) In this new interview, Giddins analyzes Quincy Jones’ memorable score.
  • Interview with Douglas K. Daniel (16:59) In this new interview, the writer discusses writer/director Richard Brooks snd provides an overview of his career.
  • 1988 Interview with Writer/Director Richard Brooks (18:25) From an episode of the French television series Cinéma cinemas, Brooks touches on his earlier career before moving on to the writing and filming process of In Cold Blood, as well as his friendship with Truman Capote.
  • With Love from Truman (29:06) Directed by Albert and David Maysles, this 1966 short film features Truman shortly after the release of his book. In much of it, he is talking to a reporter from Newsweek and he still seems young and fresh. This was clearly before drugs and alcohol began to consume his life.
  • Two Archival NBC Interviews with Capote: A 1966 Visit to Holcomb, Kansas (4:32) Capote returns to Holcomb for a book signing; several residents make comments including the real Alvin Dewey. Capote Interviewed by Barbara Walters in 1967 (9:46) Capote discusses the film version of In Cold Blood, his childhood and massive success.
  • Trailer (2:56)
  • Leaflet: An essay by critic Chris Fujiwara.