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FINAL ANALYSIS: THE SCREENPLAYS

Despite recent criticism, Diablo Cody's Juno seems poised to win Best Original Screenplay

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By Josh Kirschenbaum

It is interesting that in a year when so much attention is on the writers (due to the recently concluded WGA strike), we have such a boring race in the screenplay categories. The Coen brothers look like a lock in the adapted screenplay race while Diablo Cody is equally likely to win the original screenplay Oscar. There is always the possibility of an upset, even in the most predictable categories. There are a few contenders that could possibly take the Oscar from one of the aforementioned frontrunners.

One of the more common criticisms of the Coens’ adaptation of No Country For Old Men is that it sticks to the book exactly. All the dialogue is the same, and the scenes are barely changed. People who believe that a screenwriter should try to adapt freely, changing elements of the source material to work better on screen, are unimpressed by the Coens’ screenplay. Keep in mind though, there are many who believe that an adapted screenplay should stay as close to the source material as possible.

The way the Coens kept to the novel comes off as easy. Writers who took on more of a challenge pose a threat to the Coens. Paul Thomas Anderson adapted Upton Sinclair’s Oil! so freely that it could be considered an original screenplay. The way he was able to create a relevant film out of a fairly dated text could easily impress voters. Likewise, Ronald Harwood took a novel where the protagonist sits around and blinks his eyelid and turned into an engaging, funny, and heartbreaking film. The Coens remain the frontrunners, however, because what they did with No Country For Old Men was really extraordinary. Anyone who has read a Cormac McCarthy novel knows that they are startlingly different from any other type of novel. McCarthy ignores most rules of grammar, writes dialogue without quotation marks, and doesn’t care if the chronology of his writing confuses you. The way the Coens managed to adapt such a stylized piece of writing is admirable, and their decision to keep the controversial ending was a bold one that voters will certainly appreciate. Though the aforementioned writers pose minor (almost negligible) threats, expect the Coens to win come Sunday night.

It is no secret that the Original Screenplay category is where the Academy chooses to honor the quirky comedies that don’t stand much of a chance in the Best Picture category. Say what you like about Juno’s chances at Best Picture, but the fact remains that a victory for the film is very unlikely. It is essentially a lock for a screenplay win though.

Dialogue is what usually wins the original screenplay category, and most people seem to love Juno’s. However, there has been sizable backlash against Juno’s screenplay, and its dialogue is the cause of much of the criticism. Many decry it as unrealistic while others call it true to life. Juno’s two biggest threats come from Tony Gilroy, writer of Michael Clayton, and Brad Bird, writer of Ratatouille. Michael Clayton’s screenplay was the driving force behind the picture as the plot was mostly moved along through dialogue. Ratatouille is one of Pixar’s most acclaimed films and Bird may be the best writer-director in animation short of Hayao Miyazaki. Ratatouille’s screenplay is funny and sophisticated but it will have to overcome the Academy’s bias towards animation if it hopes to win. The nomination for Surfs Up in the animated feature category indicates that most Academy members still feel that animation is for kids.

Despite backlash against its dialogue, Juno is a lock. Diablo Cody has been such a celebrity this season that her name recognition alone could win her the award. Since Ratatouille won't likely overcome the animation bias, and Michael Clayton is too serious to win in a category that usually honors comedies, expect a victory for Cody.

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