Best Adapted Screenplay: Ranking Every Oscar Nominee
Written by Andreas Babiolakis
Last Year’s Winner: Jojo Rabbit.
Original screenplays are tricky to make, mainly because there is so much imagination needed to come up with a unique, refreshing tale. Adapted screenplays — and I say this every year during the awards season — are a whole different battle. How can a screenwriter reimagine a source material, and make something new out of it? Do you copy a source completely word for word (or idea for idea), or do you make something new out of it? For context, last year’s winner — Jojo Rabbit — wasn’t even the best screenplay of the category (in my opinion), but it was rewarded for its ability to take its source novel and turn it into its own satirical experience. So, how inventive do the following nominees get (since that can be the ticket in such a category)? Let’s see. It’s so tough, because each nominee will automatically be judged against its source material, so it’s important to tell how well they stand on their own, as well as how they compare to their inspirations. Here are your nominees.
Biggest Snub: First Cow
I know. I know. Realistically, First Cow was never going to end up here, but I figured after a wonky year and a different awards season, we’d see Kelly Reichardt’s minimalist opus here. Her take on Jonathan Raymond’s The Half-Life is done in her own stunning, meditative way (Raymond co-wrote the screenplay with her). There’s so much wisdom floating around First Cow. I knew it wouldn’t actually be here, but one can dream, right? Besides, I’d much rather First Cow than the film I have in fifth.
5. Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan
Screenplay by Sacha Baron Cohen & Anthony Hines & Dan Swimmer & Peter Bayham & Erica Rivinoja & Dan Mazer & Jena Friedman & Lee Kern, Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad
Okay. I find Borat Subsequent Moviefilm funny (I even kept the original full name, along with the many credits, as an homage to Priyanka Chopra Jonas’ impeccable reading of this nomination on the announcement day, and also for comedic effect). But, I personally find this nomination to be one of the most questionable ones of the entire Academy Awards this year. I find Tutar’s inclusion fantastic (Borat films of any sort finally have warmth from a main “fictional” character), but Borat himself is a little funny, but nowhere near the level of his first cinematic appearance. Some of the jokes are so much more forced. The whole COVID-19 twist was quite something, but the resolution of this thread — and the entire film — is so sloppy. I don’t know how this is here. I like elements of Borat Subsequent Moviefilm are noteworthy, but I was hesitant on it getting a Best Adapted Screenplay nomination, and here it is. Sigh. Again, it’s funny, but this is silly.
4. One Night in Miami…
Screenplay by Kemp Powers
I think One Night in Miami… is so true to its source material, that it is strong in that respect, but not quite as “inventive” as the other higher nominees in my ranking. Still, there is so many beautiful exchanges between the different iconic figures. You do get the sense that these idols are all having these discussions, and everything they have to say is golden. It’s a faithful adaptation, and I think a very worthy nominee, but it’s so difficult to not compare this film to the other three selections. Either way, I can say I am much more in favour of One Night in Miami… than Borat Subsequent Moviefilm here.
3. The White Tiger
Screenplay by Ramin Bahrani
Usually, I find that a film being clearly derived from a source (and embodying all of the source’s natures) can be a bit of a flaw. In the case of The White Tiger, I fully endorse the way the entire film feels like the book coming to life. Each shot is a description, and each scene is a page. I know a good portion of this has to do with how the film was assembled, but The White Tiger is still so heavily dependant on its original book, that I actually really like it. Then again, it’s not like a common novel adaptation that feels like they have eased off on making cinematic decisions. In The White Tiger, the filmic medium is married with the ways of a novel, and it’s truly something to experience. I’m all for this adaptation.
2. The Father
Screenplay by Christopher Hampton and Florian Zeller
Even though The Father is based on a play, I find it has more common ground with The White Tiger than One Night in Miami…, because The Father uses the cinematic medium to break what it initially was, and gestate into a whole new kind of a creation. Does The Father feel like it takes place on a stage at times? Sure, but the breaking of walls (literal and metaphorical) creates such a metaphysical experience; as if we’re no longer confined. I think The Father embraces its stage roots, but it transforms into something that clearly can only be done in film, so the filmmaking behind it is still elevated by the ambitious storytelling here. It’s not just a stage adaptation that is now on film; it’s something completely unique now, that not even the stage can fully offer.
1. Nomadland
Screenplay by Chloé Zhao
Nomadland is a special kind of adaptation. Parts of it are inspired by the novel written by Jessica Bruder, but Chloé Zhao takes this idea to a whole different echelon. Bruder and Zhao both study parts of American civilization that many other storytellers just don’t depict, so this is already a fantastic partnership. Zhao takes this analysis of American nomads and turns it into two things. Firstly, it’s a tale with a different spin, now following Fern. Then, the story gives way to real nomads to tell their stories (many of which can be found online in various social media outlets, as they continue to share their experiences [including being in Nomadland]). Are these pseudo-documentary portions technically screenwriting? No, but Zhao’s allowance for them is all a part of the bigger picture. Besides, her gestation of the fictional story results in a stunning, moving tale. Nomadland succeeds as an adaptation in so many different ways.
Who I Want To Win: I don’t have a problem with any of the top four picks in my rankings winning, but I’m on the Nomadland train for sure. There’s something so magical about the way these stories are told in this way. I think that’s crucial when it comes to the adaptation of another story.
Who I Think Will Win: Unless there is an upset, I have a feeling this will go to Nomadland. Most Best Picture winners (or hopefuls) need to have more than one other win (and Chloé Zhao is currently a lock for Best Director), and Best Writing (Adapted Screenplay) might be the category that sits as the other big win for Nomadland.
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.