Best Original Screenplay: Ranking Every Oscar Nominee
Written by Andreas Babiolakis
Last Year’s Winner: Parasite.
How easy is it to come up with a unique premise: A clever retelling of life? The right lines of dialogue? Original screenplays are extremely difficult to come up with, but they at least don’t have the caveat of being compared to their source materials (more on that tomorrow, when I look at the Best Adapted Screenplay nominees). Otherwise, we’re focusing today on the Best Writing (Original Screenplay) category, but Best Original Screenplay is just easier to say. We have a mostly strong batch of nominees this year, outside of one selection that I find weaker than the rest. Otherwise, reach the fourth spot of my rankings, and you’ll see what I mean: most of these examples are quite great. Here are your nominees.
Biggest Snub: Mank
Considering how much control Mank has elsewhere, I’m actually astonished that it wasn’t recognized for its writing here. I actually feel like I’m wrong, and yet I triple and quadruple check the nominees, only to find that it still isn’t there. Why not? Maybe the Academy felt like the late Jack Fincher’s screenplay was dated, but I think he had such a great handle on the ways of Old Hollywood. Besides, Mank is such a talk-heavy film, and a good portion of its success is the interesting stuff these celebrities and industry moguls have to say. I don’t know. I feel like Mank is greatly missing, here.
5. Sound of Metal
Screenplay by Darius Marder & Abraham Marder, Story by Darius Marder & Derek Cianfrance
Alright, let me break this down. Sound of Metal has really profound dialogue, some strong foundation, and great ideas of narrative progression. However, I do find the massive plot holes and missing information to be such a strike against the film. It really is Sound of Metal’s biggest flaw. Had the story been tighter, and we weren’t left to wonder some very important details, or be bothered by extreme conveniences (all of this happens in the final act), Sound of Metal could have been a legitimate film-of-the-year candidate. However, that is not the case. Too much of the climax is serendipitous or thinly constructed; there’s too much reliance on your suspension of disbelief, here. This is for sure the weakest nominee, in my opinion. It’s the only nomination that Sound of Metal has that just didn’t make sense to me.
4. The Trial of the Chicago 7
Screenplay by Aaron Sorkin
Before you crucify me, allow me to explain. This is a really good screenplay. This is just how stacked this category is from here on out. I think Aaron Sorkin’s iconic dialogue is here on full display, and his use of flashbacks are used very nicely. I personally find the remaining three nominees to be more unique, thought provoking, or tighter, but Trial of the Chicago 7 is a greatly written film (it’s actually one of the film’s biggest strengths). We all know Sorkin will likely win, here, so I don’t think there’s much to be upset about with my ranking, here. I’m happy with any of the top four picks winning.
3. Promising Young Woman
Screenplay by Emerald Fennell
Even though I find Emerald Fennell’s writing maybe a little looser than Sorkin’s, the premise and audacities of Promising Young Woman are just so refreshing. Yeah, some of the final scene or other moments kind of just happen, and we’re left to accept these events. However, there are so many instances of greatness. The climax alone is full of shocking confrontation. I find Fennell handled the idea of representing toxic masculinity and sexual violence with such innovation to be a sign of greatness. If anything, I find the occasional flaw to be a sign that this might not even be Fennell at her best, and that her opus has yet to come. Still, she’s nominated here, and she absolutely deserves to be. One final note: her blending of vicious comedy and harrowing tragedy is a major indication that Fennell knows how to make some great, powerful cinema.
2. Minari
Screenplay by Lee Isaac Chung
Minari is full of such great poetic nuance, whether it’s the titular vegetation or the many other events that happen here. There is a personal touch that makes the film feel so identifiable and connective, and I don’t think that should be taken for granted; not just anybody can do that. I place this in the second spot because I feel like the ending — while I am perfectly fine with it and love it — can be seen as a bit of a last resort, and that has been a bother to some people I know. Again, I have no problem with it, but I can’t find anything remotely debatable about the number one film. So, that’s it. Otherwise, I think the Minari screenplay is just so brilliant, warm, and tenderly written (even the negative moments are crafted with heart).
1. Judas and the Black Messiah
Screenplay by Will Berson & Shaka King, Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas
Oh, man. This is a good screenplay. The amount of tension in Judas and the Black Messiah is monumental. This is all set in place by the stepping stones of revelation of information, from predicaments to conditions that change the dynamic of each and every scene. Then, you have Fred Hampton’s speeches and everyday dialogue, and there was so much effort put into making his spirit live on the screen; Daniel Kaluuya did the bulk of the work, but he was given realistic lines to finalize the rebirth of the iconic activist. There isn’t a single thing I would change, reconsider, or feel is up for discussion when it comes to this script. It’s great to see that a real event was given such a fantastic treatment like this.
Our Review of Judas and the Black Messiah
Who I Want To Win: Despite the rankings, I’m honest when I say any of the top four (Judas and the Black Messiah, Minari, Promising Young Woman, or The Trial of the Chicago 7). I was able to place these in order, sure, but these placements are only micrometres apart (hence why I had to use so much scrutiny). There’s a lot to love in this category this year.
Who I Think Will Win: Realistically, the Academy has tried to justify each Best Picture nominee over the years by gifting each one at least one Oscar (if possible: it doesn’t always work out). So, this one could very well be the sole win for The Trial of the Chicago 7, unless something changes. Otherwise, I can see Promising Young Woman being the dark horse winner of this award (say Carey Mulligan doesn’t win, then this would be that film’s possible big win). Unless something like Minari manages to overtake the category, I wouldn’t look further than Trial or Promising.
Tune in tomorrow for our next Academy Award category! We’re reviewing every single nominee.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.