But even though the film's camera work is mainly conventional, it does feature some surreal-looking shots and sequences, e.g., Boo Radley's shadow hovering over Scout's older daredevil brother Jem, as Jem, having intruded on the Radleys, cowers on their front porch in terror.
The storytelling is interesting but like the camera work, not especially unconventional on the whole. The story is told in two ways: (1) in voiceovers as Scout, now an adult, looks back; and (2) through the action of the story itself. Even in 1962 this was not a new storytelling technique in film and certainly is not one now. But what is remarkable about these dual storytelling techniques is how well they work together and that with this continuous going backward and forward in time that the movie employs as a narrative strategy, the film never seems jumpy.
Since the story is told entirely through Scout's eyes, though, this would be considered restrictive (the equivalent of 'limited omniscient' in literature) rather than omniscient overall. Sometimes the story moves away from Scout as storyteller, though. An example is when Jem goes with Atticus to tell Tom Robinson's family that Tom has been killed that day. In this scene, the action is revealed to us through Jem's eyes rather than through Scout's eyes.
The film reflects Mulligan's style as a director in several ways. One is the widespread...
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