Midnight in the Garden of Good and Evil 1997

As the camera pans over the charming city of Savannah, it becomes clear that beneath its picturesque facade lies a complex tapestry of characters, each with their own unique eccentricities. At the center of this intricate web is Jim Williams (played by), a man of many contradictions: an art collector and antiques dealer with a penchant for lavish parties; a self-made entrepreneur who has built his fortune through shrewd business deals; and a semi-closeted homosexual living in a time when such desires were taboo. It’s this multifaceted individual that catches the attention of John Kelso (played by), a magazine reporter from New York with a single publication to his name, Before the Fall.

Kelso arrives in Savannah on a mission to write a feature for Town & Country on one of Williams’ infamous Christmas parties, held at his Mercer House mansion. As he navigates the city’s beautiful architecture and peculiar atmosphere, he finds himself struggling to find a taxi at the airport, instead opting for a ride from a tour-bus driver who gives him a whirlwind tour of Savannah’s tourist hotspots.

After alighting at Forsyth Park, Kelso makes his way to his accommodations in Monterey Square, where he has a brief encounter with Billy Hanson outside Mercer House. The journalist then pays a visit to the Armstrong Mansion offices of Sonny Seiler (played by), Williams’ trusted attorney. Seiler introduces Kelso to Williams, and they take Seiler’s dog, Uga IV, for a leisurely stroll through Forsyth Park. It is during this walk that Williams reveals his plans to auction off a rare c. 1765 painting, Newmarket Heath, with a Rubbing-down House by George Stubbs, at the party the following night.

As the evening wears on, Kelso finds himself awoken by Mandy Nichols (played by), who is seeking ice for her partner Joe Odom’s (played by) piano-playing extravaganza. Accompanying Nichols back to the festivities, Kelso meets a cast of colorful characters, including hairstylist Jerry Spence and Odom himself, as they mingle and socialize beneath the twinkling lights of Mercer House.

As Kelso arrives at the opulent Mercer House, he’s greeted by Lucille Wright, the party’s catered, who ushers him into the midst of a lavish soiree. Williams, the evening’s host, has thoughtfully provided Kelso with a tuxedo, which he dons as he mingles with the guests, including Emma Kelly, known affectionately as the “Lady of 6,000 Songs,” and a trio of eccentrics: Harry Cram, a former silent-film star; Serena Dawes, an actress with a storied past; and Blanche, Williams’ mother. As they socialize, Kelso is regaled by Williams’ impressive organ skills, which he employs to drown out the cacophony emanating from his neighbor Lorne Atwell’s dog.

As the evening wears on, Billy Hanson bursts into the scene, demanding payment from Williams. When refused, Hanson resorts to violence, threatening both hosts with a shattered bottle before storming off. The tension dissipates only briefly, as Williams and Kelso retreat to the Mercer House library for a brandy-fueled wrap-up. It’s here that Kelso discovers his own book nestled among Williams’ literary treasures, prompting him to depart early the next morning, citing an impending flight.

Kelso awakens to the wail of sirens, and as he ventures into Monterey Square, he learns that Hanson has met a grisly end at the hands of Williams. As Kelso enters the Mercer House through its rear door, he finds himself in the midst of a chaotic scene: Williams is being questioned by authorities regarding the murder. Sonny Seiler arrives shortly thereafter, attempting to calm the situation.

With Williams’ blessing, Kelso decides to stay on and cover the trial for his next book. Along the way, he encounters an array of colorful characters, including The Lady Chablis, a charismatic transgender performer; Luther Driggers, a man with a penchant for attaching flies to strings and threatening to pollute the water supply; the enigmatic members of the Married Woman’s Card Club; and Minerva, a spiritualist and root doctor based on the real-life Valerie Boles. As Kelso delves deeper into the case, he finds himself immersed in a complex web of relationships and motives that will ultimately lead him to the truth behind Hanson’s untimely demise.

As Kelso navigates his intricate web of friendships and alliances in Savannah, he finds himself entangled in a complex dance of loyalty and deception. His bond with Williams grows stronger, while his fascination with Mandy (a sultry torch singer) intensifies, leading to a thrilling exploration of the city’s eccentric underbelly. Kelso also becomes embroiled in Minerva’s mystical midnight rituals at the cemetery, where the veil between life and death seems to grow increasingly thin.

Meanwhile, Williams’ quest for justice takes a dramatic turn when he falsely testifies in court, claiming self-defense against Hanson’s fatal shooting. Despite Kelso’s initial reservations, the judge and jury ultimately acquit Williams, thanks in large part to Kelso’s discovery that crucial evidence – Hanson’s bagged hands – was actually handled by Sara Warren, a compassionate nurse at Candler Hospital.

As Kelso prepares to bid farewell to Savannah, he stops by the Mercer House study for one final conversation with Williams. With a hint of melancholy, Williams mulls over the nature of truth, suggesting that it is ultimately a matter of personal interpretation. Watching from the window as Kelso departs, Williams’ expression turns grave, and he succumbs to a heart attack mere moments later. As his life force fades, he envisions Hanson’s ghostly presence, their eyes locking in a poignant tableau.

Following the funeral, Minerva imparts a cryptic message to Kelso, cautioning him not to become too consumed by the past. As Kelso settles into his new apartment, he celebrates with Mandy and Lady Chablis, strolling off together for a serene picnic in the park. Minerva, meanwhile, is seen laughing as she feeds Flavis, a squirrel, amidst the lush greenery.

The film’s haunting conclusion features shots of the two graves at the cemetery, set against the poignant backdrop of k.d. lang’s ethereal rendition of “Skylark”, which bookends the movie with its opening credits. The credits roll over footage of the enigmatic Bird Girl statue, nestled within Bonaventure Cemetery, her gaze forever fixed on the horizon.