d to two or three scenes that do little to shed light on the potent and powerful relationship that is offered in the book. Jude Law portrays Billy (Danny) as a hothead doped-up hustler, ˘You donĂt give me warnings, I give them to you, remember, Šcause I can back mine up÷ (Eastwood, 1997). We see him in two such scenes and then he is dead. These kinds of conservative choices by the filmmaker have basically removed the humor, weirdness and mystery that make the novel so appealing.
Eastwood, C., Director. (1997). Midnight in the Garden of Good and Evil, (Film). USA.
There are some things that the movie version does enhance compared to the book of Midnight in the Garden of Good and Evil. Chief among these is the ability to use photography and music to great effect. While in the book it is the characterĂs richness that brings Savannah to life, in the film music and photography help to achieve a richness the book cannot. For example, at the beginning of the film we are provided with an aerial shot of Savannah that is oddly mysterious but beautiful. Eastwood provides a shot of hanging cypresses that reinforce the fact that this is a lush but seedy city. Yet while the photography is skilled at bringing Savannah to life, it cannot compete with the eccentric oddities of the character interactions in the novel.
Berendt, J. (1994). Midnight in the Garden of Good and Evil: A Savannah Story. New York: Random House.
Perhaps it is inevitable that a novel that features a raucous