OVP: Best Original Screenplay (2019)
The Nominees Were...
Rian Johnson, Knives Out
Noah Baumbach, Marriage Story
Sam Mendes & Krysty Wilson-Cairns, 1917
Quentin Tarantino, Once Upon a Time in Hollywood
My Thoughts: This week for 2019 we will be focusing on the writing contests, which in recent years have become something of a disappointment (in my opinion). This isn't because they aren't honoring quality films (as you're going to see, this is an above-average lineup for Oscar in terms of quality), but instead in an era with a ten-wide field, we rarely are receiving a lot of new names like we did in past decades. The Original Screenplay race got one film that wasn't nominated for Best Picture, and has basically become a place to simply duplicate that category's success stories, rather than strive for unique or challenging films of its own.
We'll start with that one new name, Knives Out, which was surely close to a Best Picture nomination if this lineup is any indication (it likely would've happened in a ten-wide field). Rian Johnson has gained an unusual following online with his controversial work behind The Last Jedi splitting Star Wars fans apart (I'm of the opinion that it was the best of the sequels because it tried to go into new territory, but I'm confident I'm in the minority who think it's also his best film, as I can't stand Looper...I'm also a huge fan of his wife Karina Longworth who is also a source of division on Film Twitter). However, everyone seems appropriately behind his stuff in Knives Out, which is a wry mystery. Johnson does a great job of getting us involved in the story & taking advantage of the fact that this genre is a people-pleaser that's rarely used (something I don't get-everyone likes mysteries so this is an easy sell to audiences...why are there not more?). I don't think this breaks new ground, and the twists are easy to see coming (there's not a lot of "original" in these ideas), but this is a pleasant, solidly-constructed story & seems about the right spot to honor Johnson with his first (but likely not last) trip to the Dolby.
Quentin Tarantino is not on his first trip to the Dolby, of course. Tarantino has been an Oscar pet since Pulp Fiction broke out in 1994. Hollywood lands in the middle for me with his work. Compared to recent efforts Django and Hateful Eight, it's a pickup-Tarantino finds fun ways to spiff on Old Hollywood motifs (particularly 1960's television) with this movie, and the dialogue can occasionally be sparkling (particularly the session about actor Bruce Lee). However it never approaches the genius of his earlier work since it meanders in a way the crystal-sharp guy behind Pulp Fiction wouldn't have allowed. The ending is too long, and a bit too violent, but that's more on direction than writing as far as I'm concerned-the twists in the film largely work & pay off in the final chapter.
Parasite is a movie that lives-or-dies off of its twists. I was able to see the movie largely unscathed by what it's actually about (I suspect it's a big enough deal with cinephiles in the future that this will be like avoiding spoilers in Psycho and Empire Strikes Back in going into this movie cold), but what's brilliant about Parasite is that it works so well to cater to create an overall feeling of social commentary (particularly about the have's and have-not's in capitalism), but never abandon the comedy & thriller subplots it has running through its tale. Bong Joon-Ho is not unlike Tarantino in that he has other films that play into his instinct to stretch & pull, potentially having his genius take the film off into a bad tangent...but Parasite resists all of those urges and gives us a perfect ride.
1917 is the kind of movie that shows up here because it's a big deal, probable-Best-Picture contender (it will also be lost to future generations how many thought that 1917 would win the big prize on Oscar night since I think Parasite's victory will age well). After all, this isn't a writer's film-it's a movie that belongs to the director & cinematographer. 1917 does have decent writing, and its plot work is sound, particularly the way that it has a decent struggle between looking back & forcing the audience forward. But there are parts (like with the young French women in the town at night) that reaches too heavily into wartime cliche for my taste, and that negates some of the tension that the writers have given to the story that underline that this feels more like a halo nomination than one that's fully-earned for the movie.
Marriage Story, on the other hand, is exactly the kind of movie that screams "writer's picture!" Even if it had missed in the top category, it still would've landed here. Both Johansson & Driver get big, memorable soliloquies to hurl at each other, and the simmering, bitter hatred that comes forward as two people who once loved each other start to tear apart what they created...it's almost like a play, but it feels cinematic throughout. I loved Marriage Story...the heightened reality & occasionally riskily elevated moments (like finding that letter at the right time or the Sondheim realization) just make it work better, and it gifts the actors with a rich tale to enliven.
Other Precursor Contenders: The Globes combine adapted and original into one category, and the winner is actually from this field; Once Upon a Time In Hollywood took the trophy, over two other originals (Parasite and Marriage Story). BAFTA splits out theirs, with Booksmart subbing in for 1917, and the winner being Parasite. The WGA went with Booksmart as well, but here the movie that was skipped was Once Upon a Time in Hollywood (the WGA's union rules make certain figures like Quentin Tarantino a tougher sell), and again picking Parasite as the victor. While Booksmart showed up twice (indicating to a degree that it was the sixth place finish), I didn't predict it at the time, and actually went with The Farewell...either that movie, Uncut Gems, or Ford vs. Ferrari would've made sense in this lineup, and considering how unoriginal the down-ballot races were in a shortened Oscar's season, I kind of wonder in retrospect if it was Ferrari who just missed.
Films I Would Have Nominated: Like I said, this is a pretty good lineup. I don't have a problem with any of these movies and based on their screenplays alone, all would get a thumbs up from me (actually I gave all of these movies in general a "thumbs up" star rating). But I would still substitute in some better work here. Ad Astra isn't a writer's film by any normal measure, but its commentary about our need to explore & our inability to admit our own failings is beautifully sewn into the film's screenplay. Last Black Man in San Francisco is one of those movies that is about one thing on the surface (gentrification) and another underneath (admitting when it's time to move on), and it balances that with precision. And End of the Century has an almost impossible task with its script about two gay men who may-or-may-not have been lovers in the past (or the future), and yet it succeeds in finding that equilibrium.
Oscar’s Choice: Quentin never stood a chance even after the Globes-an easy victory for Parasite.
My Choice: I am also going to go with Parasite, though I would've kept Marriage Story at least as a nominee & in a normal year that would've made a worthy victor. Following those two are Hollywood, 1917, and Knives Out.
Those are my thoughts-what about you? Is everyone kind of on Team Parasite...is this the win that pretty much no one is going to argue for the film? How soon do you think Rian Johnson will return to the Oscars (is this a Charlie Kaufman 2004 nomination, or is this a Quentin in 1994 nomination)? And do you agree it's a free-for-all for sixth place, or am I overthinking the Booksmart precursors? Share your thoughts below!
No comments:
Post a Comment