Midnight in the Garden of Good and Evil (1997)

When it’s on: Wednesday, 4 February (11.45 pm)
Channel: BBC1
IMDb Link

Clint sure knows how to pick ’em. I remember reading John Berendt’s Midnight in the Garden of Good and Evil a couple of years after it was published and loving its part travelogue, part murder story structure, as did many people judging from the number of weeks it spent on the New York Times Bestseller List. As a fan of true crime, ‘factional’ books at the time (In Cold Blood by Truman Capote was another title I adored), it was an instant classic and also came across as resolutely impossible to adapt for the screen – the highest number of eccentric characters this side of Twin Peaks, so many pages dwelling on the sun-soaked delights of Savannah, Georgia, clearly a world removed from the author’s city living in the Big Apple.

And so it’s to Mr Eastwood’s credit that he took it on, retained much of the book’s essence and stuck with the eyewitness perspective of telling it from the the point of view of John Cusack’s visiting journalist, John Kelso. Bits were changed, characters excised or amended, the book’s four murder trials were reduced to a decisive one, a romantic subplot was shoehorned in. Fans of Berendt’s work were horrified by some of the elements that had been lost in translation and the film was a box office bomb, but on its own merits that doesn’t make it a stinker.

The plot follows Kelso, a New York journalist for the socialite magazine Town and Country, who travels to Savannah in order to write about one of the famous Christmas parties hosted by colourful millionaire Jim Williams (Kevin Spacey). Kelso is instantly struck by the otherworldliness of the city, the old world manners, its unique set of idiosyncratic denizens, for instance the man who walks an invisible dog because he’s paid $15 for doing so even after the mutt has long since passed away. He’s also impressed with Williams, a self-made charming man, though the assignment he’s in town to complete changes to something else entirely when a young man, Billy Hanson (Jude Law), is shot dead by Williams in his home. It emerges the two were lovers and an argument between them turned to violence and then death, so Kelso sticks around, covering Williams’s trial as the material for a book and, in the meantime, meeting more local eccentrics and soaking up the architecture and southern charms of Georgia’s oldest city (it dates back to 1733, when it was founded by the British General, James Oglethorpe).

Midnight in the Garden of Good and Evil is a long film, running for over two and a half hours, though the length is a necessity in order to take in the range of characters and get the ‘feel’ of the place. Cusack, through whose eyes we see everything, is a fine ‘fish out of water’, his mouth often hanging agape at the cavalcade of strange sights he witnesses in and around Savannah. Being in the Deep South, there’s still an intangible dabbling in the practice of voodoo magic. Williams takes Kelso with him on a visit to meet Minerva (Irma P Hall), a local spiritualist, the hard-bitten, big city writer scarcely comprehending what’s going on as she starts writhing on Billy’s grave in her attempts to commune with his spirit. The title of the film is derived from something she tells Kelso – either side of midnight is the dead hour, she advises him; the half hour before being for good deeds, evil thereafter.

There’s a nice attempt by the film to capture some of the book’s authenticity, various people from Berendt’s text popping up on the screen. Most prominent amongst these is Lady Chablis (Chablis Deveaux), a drag queen and local stand-up comic who also happened to live with Billy and who Kelso befriends in an attempt to find out more about the young man. Chablis is effectively playing herself, a bawdy presence who has somehow been accepted within a place that seems to thrive on old style manners and still appears to have regrets over the outcome of the American Civil War.

Where it’s less certain is in the attempt to find a love interest for Kelso. Whereas Berendt remained essentially an observer, Kelso is involved prominently in Williams’s trial from the start, actively advising  and helping him whilst falling for Michelle Nicholls (Alison Eastwood), who owns a flower shop. She’s Clint’s daughter, no doubt a lovely presence, but the subplot feels completely superfluous, adding nothing to either the story or the character, and making Kelso look just awkward in his faltering attempts at courtship.

On the surer ground of exploring the intricacies of the trial (it pivots on whether Williams shot Billy in cold blood, or if he was fired at first), Kelso clearly admires the older man and wants him to be acquitted. Spacey is excellent, charming and charismatic, wearing contact lenses throughout to fit Berendt’s description of him as having ‘eyes so black they were like the tinted windows of a sleek limousine – he could see out, but you couldn’t see in.’ 1997 was a good year for Spacey. With L.A. Confidential also showcasing his talents, he was making leaps and bounds from the oddball characters he had become renowned for in the likes of Se7en and The Usual Suspects, creating in Williams a man so instantly likeable that Kelso refuses to believe he could simply have murdered Billy.

It’s a strange concoction of a film, on the one hand trying to cosy up to book lovers by possessing much of its spirit whilst adding mainstream elements for cinema audiences. Perhaps, as has been suggested elsewhere, adapting the book as a straightforward documentary might have made it more of a success. Then again, the film contains such a strange assortment of characters that it’s impossible not on some level to be charmed and intrigued by it. The sight of veteran actor and occasional Eastwood collaborator, Geoffrey Lewis, playing a man who attaches flies to strings and lets them buzz around his shirt whilst carrying a bottle that, legend has it, he could use at any moment to poison the city’s water supply, needs to be seen to be believed.

Midnight in the Garden of Good and Evil: ***

L.A. Confidential (1997)

When it’s on: Monday, 18 June (11.05 pm)
Channel: Film4
IMDb Link

Whilst I’ve enjoyed the several James Ellroy books that have passed before my eyes, I can’t say I have ever begged for more. It’s not that I think they’re anything less than brilliant, more the sheer demand they place on my concentration span. Densely plotted and involving many fully rounded characters, you get what you pay for with an Ellroy, but they’re heavy going pieces of work. I thought I’d done well with Clandestine, only to find it was a quickie he’d knocked out in between bigger projects. And then there’s American Tabloid, a convoluted tale leading to the Kennedy assassination that I devoured whilst on holiday. As Mrs Mike siesta’d the afternoons away in mid-forties Luxor, I worked my way through bottles of water, cheap cigarettes and the book. I couldn’t imagine doing it any other way.

L.A. Confidential is much the same. Character after character pops up, each with its own complicated back story and distinct personality, every one either as crooked or as on the make as the next. Fantastic stuff, but I could see why adaptations of Ellroy’s work are few and far between. So much happens, involving so many people, that holding it together on film should be virtually impossible. Ellroy was very complimentary of the 1997 adaptation, calling it a ‘wonderful fluke’ because it somehow pulled all the disparate threads of his novel into a ‘movie of that quality.’ L.A. Confidential claimed an Academy Award for Curtis Hanson and Brian Helgeland’s screenplay, and would surely have won more but for it sharing the bill with a certain Titanic.

And yet there must be no one who would possibly rank James Cameron’s watery epic above a masterpiece like L.A. Confidential. I like Titanic, but this one’s a bit special. If you haven’t seen it, my strong recommendation would be to ensure you’re sat comfortably for Film4’s screening tonight. Record it, because after watching it you’ll want to do so all over again, only with the benefit of hindsight so you can see how cleverly the strands have been woven together, how sublime the entire cast is and the layers within the characters they play. Or maybe you’ll just replay it for your favourite moment. Mine is the look on Guy Pearce’s face when another character says the words ‘Rollo Tomasi’ at a crucial moment. It beats the unfortunate meeting in the diner involving Lana Turner. Or the bit where Kevin Spacey’s ‘celebrity cop’ pockets a packet of marijuana after a drugs bust. Or the powerhouse performance put in by Russell Crowe. Or the seductive Irish brogue of James Cromwell’s captain. Or the ‘window’ scene. Or Danny DeVito’s opening voiceover. Or the playing of various 1950s hits, like Wheel of Fortune. Or just how uncontrollably sexy Kim Basinger is, even in her 40s. Or the period detail.

It’s a crime yarn for the viewer who’s prepared to put in the hours, to appreciate a film that packs more story and characterisation into a running time of little over two hours and loses little of the book’s detail. It’s rightly referred to as a modern take on film noir because the attention to detail is note perfect. L.A. Confidential feels like a film from the 1950s, only one that flips a finger to the censorship laws of the era by showing the blood and letting the characters speak like real people. The casting is every bit as amazing. Of the three main players, Kevin Spacey was the most famous and made his turn as Jack Vincennes feel effortless, up to the point where he’s challenged over why he’s in the force. The real coups were Pearce and Crowe. Both had appeared in Australian soap, Neighbours, Pearce for several years, and the pair were relatively little known in America before their appearances in this. Crowe in particular is brilliant, the tank with a chivalrous streak and desire to be more than a mere heavy. They could have copped out and given the roles to more famous actors, but would they have been nearly as memorable?

It’s simply a superb film, and like all the best ones I find something new to enjoy in it with every viewing.

L.A. Confidential: *****