Best Adapted Screenplay
The Nominees:
Richard Linklater, Julie Delpy, and Ethan Hawk for Before Midnight
Billy Ray for Captain Phillips
Steve Coogan and Jeff Pope for Philomena
John Ridley for 12 Years a Slave
Terence Winter for The Wolf of Wall Street
For Film Novices:
This award goes to the best script based on a previous work, which the Academy defines broadly as a previous written work (novel, biography, news article, etc.) or previously created characters or worlds. Thus, sequels and spinoffs are included in this category.
David
Should Win: The Wolf of Wall Street
The impressive trick of Terence Winter’s script is that he is able to offer a scathing critique of Jordan Belfort’s hedonism by letting his protagonist attempt to impress and manipulate his audience. It is a ballsy move, as it assumes an intelligent and thoughtful audience. This, unfortunately, resulted in many accusing Winter and director Scorsese of defending Belfort themselves, but this was clearly not their intent, as Belfort’s defense of his life in the film as written is contradictory and dripping with chauvinistic egocentrism. It shows us a man who apologizes for his past at the same time he boasts about it, and by exploring this hypocrisy, Winter shows us in nauseating fashion that Belfort’s pursuits are meaningless without having to tell us as much. His reserve and respect for his audience should be rewarded.
Will Win: 12 Years a Slave
Interesting character juxtaposition in 12 Years a Slave |
Weakest Nominee: Philomena
Some lovely banter in Philomena |
Best Non-Nominee: Short Term 12
The rules of the Academy for adapted works means that this script, which is an expansion of a previous short by director Destin Cretton would fall into this category. Not only is this film insightful, funny, touching, and bold, but it manages to create believable portraits of its countless young characters despite them being in life situations that are regularly exploited for melodramatic effect. This careful attention and concern for his entire setting, both in its tragedy and beauty, is refreshing, and there is sincerity and earnestness in Cretton’s writing that is inviting and convincing.
Chelsea
Should Win: 12 Years a Slave
Before Midnight |
Will Win: 12 Years a Slave
John Ridley manages to adapt this classic autobiography and writes a screenplay that is reserved even as it is epic. It could have turned into a sappy, pleading story and likely would have in the hands of many other screenwriters and directors, but Ridley has the sense to turn this story into an unblinking look at this sordid chapter in American history. In addition, he manages to clearly sketch out the character of this remarkable man at the center of the story. It’s a beautiful, audacious, script and it deserves this win.
Weakest Nominee: Philomena
I’m just going to say ditto. I think it’s actually a really good script, managing to be humorous and not too heavy handed, when it could have easily turned into pure melodrama. But this is a category filled with heavy hitters, and it just isn’t GREAT.
Best Non-Nominee: Short Term 12
Chelsea's favorite scene of Short Term 12 |
Best Original Screenplay
The Nominees:
Eric Warren Singer and David O. Russell for American Hustle
Woody Allen for Blue Jasmine
Craig Borten & Melisa Wallack for Dallas Buyers Club
Spike Jonze for Her
Bob Nelson for Nebraska
For Film Novices: This award goes to the best script that is a unique creation, neither inspired by nor adapted from a previous work.
Should Win: Her
Joaquin Phoenix and Amy Adams in Her |
Will Win: American Hustle
Jennifer Lawrence does her thing in American Hustle. |
Weakest Nominee: American Hustle
… Which is too bad, because the screenplay for Hustle is the least meaningful of the bunch. It is certainly well crafted and fun, but the film is an expert riff on the gangster genre rather than being anything truly original. While I respect the writing for its tightly twisting plot and amusing characters, it just doesn’t add up to much in the end.
Best Non-Nominee: Inside Llewyn Davis
Oscar Issac sings a fantastic song in Inside Llewyn Davis. |
Chelsea
Should Win: Her
Like David, I couldn’t even grasp that this was Jonze’s first screenplay. (He has twice directed Kaufman scripts, which are also fantastic, of course). If I was surprised by anything else, it was how deeply felt this film is. It’s an extremely emotional screenplay, with perfect dialogue and beautifully written characters with real honest depth of feeling. I also want to take this space though and point out the fantastic, poignant, and quirky work that Alexander Payne turned in here for Nebraska. Another beautiful screenplay, this often sad, sometimes bleak, but ultimately lovely look at the lives of a senile old Midwestern man and his lost son resonated with me because of it’s fantastic drawing of Midwestern family culture. Great work.
Midwestern family in Nebraska |
Will Win: Her
This is subject to change on my final prediction list on Oscar night. I’m going to remain hopeful for this one and choose Her, as it’s won a few precursors and seems to have a pretty decent shot – the Academy may very well choose to give this award to this film as its token. American Hustle is its biggest competition, and I wouldn’t be surprised if it won, just disappointed, because like you said it’s the…
Weakest Nominee: American Hustle
It’s tightly woven and expertly plotted, but the problem is it is shallow and seems to lack any real stakes excepting the scenes with Robert De Niro. I should also like to point out that Dallas Buyers Club is a weak nominee in this field. The script is good yes, but the film is made by its committed performances, not the film making itself, and the script occasionally gets a bit on the ham-fisted side.
Best Non-Nominee: Upstream Color
It makes (some) sense, promise! |
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