Re: Best Screenplay 2020
Posted: Sun Aug 29, 2021 2:17 am
My problem with the screenplay awards has always been the breakdown between adaptation and original. To me, there's much more of a distinction between comedy and drama.
How can you really compare an adaptation of a Broadway play where there is little change in the dialogue from stage to screen with the adaptation of a lengthy novel, and a short story that requires a lot of originality to expand it to something that fills the two hour or more running time of the piece?
On the other hand, how can you call something original when it's based on newspaper headlines, interviews with people who were there, court transcripts and the like to something based on the writer's own experiences, to something completely original? Sequels, because they are based on characters previously seen on the screen, even though the story lines are completely different, are treated as adaptations. Even though I didn't much care for it, the screenplay for the Borat sequel had more originality than most, if not all, the original screenplay nominees. The Trial of the Chicago 7 didn't have a shred of originality in it, yet it was considered an original because it wasn't based on anything previously published. Newspaper accounts don't count.
Clever dialogue counts for a lot, which is probably the reason Promising Young Woman won the Oscar and will likely win here. At the time of the Oscars, it was my choice, too. However, on reflection, there are scenes from Minari and Sound of Metal that linger in my mind longer than those in the winner. Judas and the Black Messiah was riveting as well, which made the category a tough choice between four very good screenplays, but in the end it was a tough call for me between Minari and Sound of Metal.
The adaptations this year were less compelling for me. I liked the screenplay for One Night in Miami very much, but I have no idea how much of it was straight adaptation of the play and how much was changed for the screen. I do know that Nomadland was a combination of things that were in the book and additions largely based on Frances McDormand's uncredited involvement, so clearly there was more work in putting it together which is why I voted for it. But again, the categories drive me nuts.
Minari, Sound of Metal, Nomadland, Judas and the Black Messiah, One Night in Miamiand The Father were the year's best adaptations of real-life situations, The Trial of the Chicago 7 and White Tiger somewhat less so, while Promising Young Woman and the Borat sequel were the ones that stretched credulity the most, so in that regard were, I suppose the most original.
For an off-year, the choices weren't at all shabby.
How can you really compare an adaptation of a Broadway play where there is little change in the dialogue from stage to screen with the adaptation of a lengthy novel, and a short story that requires a lot of originality to expand it to something that fills the two hour or more running time of the piece?
On the other hand, how can you call something original when it's based on newspaper headlines, interviews with people who were there, court transcripts and the like to something based on the writer's own experiences, to something completely original? Sequels, because they are based on characters previously seen on the screen, even though the story lines are completely different, are treated as adaptations. Even though I didn't much care for it, the screenplay for the Borat sequel had more originality than most, if not all, the original screenplay nominees. The Trial of the Chicago 7 didn't have a shred of originality in it, yet it was considered an original because it wasn't based on anything previously published. Newspaper accounts don't count.
Clever dialogue counts for a lot, which is probably the reason Promising Young Woman won the Oscar and will likely win here. At the time of the Oscars, it was my choice, too. However, on reflection, there are scenes from Minari and Sound of Metal that linger in my mind longer than those in the winner. Judas and the Black Messiah was riveting as well, which made the category a tough choice between four very good screenplays, but in the end it was a tough call for me between Minari and Sound of Metal.
The adaptations this year were less compelling for me. I liked the screenplay for One Night in Miami very much, but I have no idea how much of it was straight adaptation of the play and how much was changed for the screen. I do know that Nomadland was a combination of things that were in the book and additions largely based on Frances McDormand's uncredited involvement, so clearly there was more work in putting it together which is why I voted for it. But again, the categories drive me nuts.
Minari, Sound of Metal, Nomadland, Judas and the Black Messiah, One Night in Miamiand The Father were the year's best adaptations of real-life situations, The Trial of the Chicago 7 and White Tiger somewhat less so, while Promising Young Woman and the Borat sequel were the ones that stretched credulity the most, so in that regard were, I suppose the most original.
For an off-year, the choices weren't at all shabby.
