Be Cool - Differences Between The Film and The Novel

Differences Between The Film and The Novel

There are many differences between the novel Be Cool and the film adaptation. Some of the most prominent are:

  • The film tends to focus on pop music, with Linda Moon being a pop artist. In the novel, Linda Moon is part of a rock band named Odessa, who are described as "AC/DC meets Patsy Cline".
  • In the novel, Sin LaSalle's name is Sin Russell. He is not sophisticated or intelligent, as he is depicted in the film. He and his rap group do not play a large role in the plot of the novel either, barely appearing in it. Most of them are either killed or put in intensive care after a shoot-out with the Russians.
  • The Russians run a 1-Hour photo business, not a Pawn Shop.
  • The Russians play a smaller role in the novel's plot than the film's. Chili still manages to turn Sin and his rappers against the Russians, but it culminates in a shoot-out half way through the novel. Neither party returns later in the plot.
  • Raji is not a young, white man that acts black in the novel. In the novel, he is a short black man in his 50s, less humorous and more malevolent.
  • In the novel, Linda Moon is a non-Hispanic white and tends to use mildly racist terms, calling blacks "colored" throughout the book.
  • Sin's rap group is known as Ropa-Dope, not DubMDs.
  • The film excludes Chili's love interest, Elaine, who was also left out of the film version of Get Shorty. Chili does not pursue a relationship with Edie, as he does in the film.
  • Nick Carr's name is Nick Car, which is short for Nicky Carcaterra. He has no involvement in Raji's plot to kill Chili Palmer, nor is he an antagonist.

Read more about this topic:  Be Cool

Famous quotes containing the words differences between, differences and/or film:

    The extent to which a parent is able to see a child’s world through that child’s eyes depends very much on the parent’s ability to appreciate the differences between herself and her child and to respect those differences. Your own children need you to accept them for who they are, not who you would like them to be.
    Lawrence Balter (20th century)

    Quintilian [educational writer in Rome about A.D. 100] hoped that teachers would be sensitive to individual differences of temperament and ability. . . . Beating, he thought, was usually unnecessary. A teacher who had made the effort to understand his pupil’s individual needs and character could probably dispense with it: “I will content myself with saying that children are helpless and easily victimized, and that therefore no one should be given unlimited power over them.”
    C. John Sommerville (20th century)

    A film is a petrified fountain of thought.
    Jean Cocteau (1889–1963)