Decade in Review, Revisited: The Screenplays

Screenplays are different from the actual films they precipitate. Quite often the screenplay ends up being my favourite of a film. It all begins with the screenplay really – here are the ones that I remember most clearly from the last decade.

Runners Up: (Alpha): Big Fish* – adapted (2003); Bright Star* – original (2009); Brokeback Mountain – adapted (2005); The Constant Gardener – adapted (2005); Corpse Bride* – original (2005); The Fantastic Mr. Fox – adapted (2009); In the Loop – adapted (2009); Little Miss Sunshine  – original (2006); Mean Girls* – adapted (2004); (2009); The Others* – original (2001)

       

#15: A History of Violence (2005), adaptation by Josh Olson

Richie Cusack: “So you like that farm life? Milking cows and shit?”
Tom Stall: “I don't have a farm.”
Richie Cusack: [chuckling] “No? Fogarty thought you lived on some kind of farm. Said you could smell pig. How that old fart would know what a pig smells like, I don't know, but that's what he said.”

Visceral is not a word I find myself using often, but it’s the one that comes to mind immediately when I think of A History of Violence. It approaches an issue – a character with two sensibilities – in a manner that’s unorthodox and also quite sanguine. Its aim is not to shock, at least not unwarrantedly. In approaching the concept with such smoothness Tom Stall becomes a symbol for any man.

     

#14: Chicago (2002), adaptation by Bill Condon

Billy: “When she returns, she gently wakes up Harry. Harry says, "What? I'm alone." She says, "Alone? You got two other women in bed with you ." So, get this. Harry says, Come on , doll . You gonna believe what you see or what I tell you?”

Marshall is not credited, though a significant amount of the idea emanates from him. Still, Condon does excellent here. He doesn’t get overwhelmed by Ebb and Kander’s standards and forget to make sure they’re resting on a dependable set of words. He raises the standard ensuring that the every scene exists as it should and the spoken scenes succeed as much as the musical ones.

        

#13: You Can Count on Me (2000), originated by Kenneth Lonergan

Terry: “Where are we going?”
Sammy: “To pick up Rudy.”
Terry: “What, do you not even want me to come visit now?”
Sammy: “Of course I want you to visit, you idiot! I've been looking forward to seeing you from the moment I got your letter, I told everyone in town that you were coming home, I cleaned the whole fucking house just so it would look nice for you! I had no idea you were just broke again! I wish you'd just send me an invoice!”

A bitingly realistic and poignant look at filial love, it’s easy to forget and just see the excellent work being done by Ruffalo and Linney. Longergan crafts his screenplay with a surprising lack of pretentiousness, and even when we might hope for something a little more “movie-like” she’s careful to ensure that her characters are acting in keeping with the world he’s created for them.

#12: Babel (2006), originated by Guillermo Arriaga

Yussef: “I killed the American, I was the only one who shot at you. They did nothing... nothing. Kill me, but save my brother, he did nothing... nothing. Save my brother... he did nothing. ”

It’s simple to ignore because of Crash, which it’s mistakenly seen as a derivative of. It does tend to get a little bit too heavy-handed when delving into its symbolism but I forgive a few of its occasional missteps because in the greater realm of things I do treasure its ultimate result. The balancing between the three narratives is handled gracefully; and the message though obvious is not less profound for it.

#11: Traffic (2000), adapted by Stephen Gaghan

Caroline: “On the good days, I feel like I get it, like it all makes sense. I can stay in the moment, I don't have to control everything in the future, and I believe everything is gonna work out fine. On the bad days I just want to grab the phone and start dialing numbers. I want to pull my hair and run through the streets screaming. But thanks to the people I've met in these rooms, like Margaret and Jim and Sarah, I'm pretty sure I'm gonna make it through today.” 

Another massive ensemble drama, Traffic depends significantly on its screenplay. It's riveting and it flies by, but it's also incredibly smart. Gaghan has an ear for dialogue, especially topical dialogue, and the script serves as an excellent appraisal of current affairs.

     

#10: Erin Brockovich (2000), originated by Susannah Grant

Erin: “I've been working, that is all I have been doing, what am I supposed to do check in with you every two seconds?” 
Brenda: “Yes, it's called accountability and...” 
Erin: “I'm not talking to you, bitch!”
Brenda: “Excuse me?” 
Erin: “Get out of my face!”

This is another one that’s often overlooked. Grant takes a concept that’s almost pedestrian – the hardworking heroine against the world – and creates a screenplay that’s uncluttered and not at all condescending. We forget at times that at the end of the day this film is ultimately a legal drama, because Grant is willing to touch on more than just a single issue in her script.

    

#9: An Education (2009), adaptation by Nick Hornby

Helen: We should go shopping together one day, if you want.
Jenny: That would be nice. But South Ken, C'est beaucoup trop cher pour moi.
[Pause]
Helen: Sorry?
Jenny: I just said...It was too expensive for me.
Helen: No you didn't. You said something completely different.

Hornby has the admirable ability to push a host of ideas into a particularly short screenplay. Moreover, though it ostensibly focuses on something as singular as a girl’s “coming-of-age” each character, regardless of their relative importance, speaks words that are completely their own.

#8: Match Point (2005), originated by Woody Allen

Chris: “The man who said "I'd rather be lucky than good" saw deeply into life. People are afraid to face how great a part of life is dependent on luck. It's scary to think so much is out of one's control. There are moments in a match when the ball hits the top of the net, and for a split second, it can either go forward or fall back. With a little luck, it goes forward, and you win. Or maybe it doesn't, and you lose.” 

On the surface it’s just Woody Allen’s perverse take on a classic tale, but underneath it’s a thoroughly original and almost subversive take on people in the world. It stings as much as it amuses and when you think it’s a trifle there’s always something deeper lurking below – if you’re willing to look closer.

      

#7: The Departed (2006), adaptation by William Monahan

Uncle Ed: “Are you trying to prove something to the family?”
Billy Costigan: “When you say "the family," who do mean exactly? You?”
Uncle Ed: “You always have to question everything, don't you?”
Billy Costigan: “Maybe it would have done you some good to have some *questions* from time to time, you know? Am I an asshole? Are my kids a mess? Is my wife a money-grubbing whore? I mean, those are questions, right? Have I ever been good to my dying sister or am I just now pretending to be?”

Monahan’s adaptation of the Asian drama is a beast of its own. Complete with little character idiosyncrasies that are all his Monahan’s piece is completely original – adaptation or not. The world he creates is probably fabricated but everything that occurs is rendered believable simply because of the sameness throughout the narrative.

#6: Burn After Reading* (2008), originated by Ethan and Joel Coen

Osbourne: “And you're my wife's lover?”
Ted: [shaking his head] “No.”
Osbourne: “Then what are you doing here? [pause] I know you. You're the guy from the gym.”
Ted: “I'm not here representing HardBodies.”
Osbourne: “Oh, yes. I know very well what you represent. [pause] You represent the idiocy of today. ”

This remains as one of the most inventive comedies of the decade, and the script is one of the decade’s best. The entire thing is permeated with a glorious amount of irreverence that doesn’t stop the harsh truths in the screenplay from being seen. It’s the very fact that it doesn’t take itself too seriously though, not caring to sentimentalise any of its characters.

#5: Atonement (2007), adaptation by Christopher Hampton

Robbie: “Dearest Cecilia, the story can resume. The one I had been planning on that evening walk. I can become again the man who once crossed the surrey park at dusk, in my best suit, swaggering on the promise of life. The man who, with the clarity of passion, made love to you in the library. The story can resume. I will return. Find you, love you, marry you and live without shame.”

Not as piercing as his work on Dangerous Liaisons, but done with the same amount of astonishing brevity. Like any such adaptation the script is littered with bits of symbolism here and there, and it must have been a task creating a screenplay from McEwan’s impressive novel. He doesn’t quake at the challenge, though, and the story works well on its own.

       

#4: The Hours (2003), adaptation by David Hare

Laura: “It would be wonderful to say you regretted it. It would be easy. But what does it mean? What does it mean to regret when you have no choice? It's what you can bear. There it is. No one's going to forgive me. It was death. I chose life.”

I’ve not read Cunningham’s novel, though I’ve read extensive biographies on Woolf and Mrs. Dalloway. The screenplay exists seamlessly; there are three women but it is one story. Oddly, it never becomes too “talky”, the dialogue is never obtrusive. Instead everything flows together in beautiful subtlety.

#3: Before the Devil Knows You’re Dead* (2007), originated by Kelly Masterson

Gina: “When are you going to grow up, Hank? We have a really good thing going, and you should just enjoy it. We have a really good time in bed. I don't ask for anything.”
Hank: “I love you. I want more.”
Gina: “So does Oliver Twist.” 

Masterson’s script is discordant, but that's the beauty of it. Such a tale could easily have become a message film, instea she turns it into a nuanced character study giving every character their pivotal moment – and ensuring that plot points that occur are readdressed. She refuses to conform to the norm creating a world that is completely hers.

     

#2: Eternal Sunshine of the Spotless Mind (2004), originated Charlie Kauffman with Michael Gondry

Joel: “I can't see anything that I don't like about you.”
Clementine: “But you will! But you will. You know, you will think of things. And I'll get bored with you and feel trapped because that's what happens with me.”
Joel: “Okay.”
Clementine: [pauses] “Okay. ”

It’s an obvious choice, but deservedly so. It is a work that’s strikingly original even though the issues are ones we know all too well. Ostensibly it seems to be science fiction, but that solitary plot point is just that, and the issues addressed are done so with some of the most perceptive and smart comedic writing.

#1: Gosford Park (2001), originated by Julian Fellowes with Robert Altman

Sylvia: “Where's that wretched Mabel.”
Aunt Constance: “Has anyone checked her outfit? She's probably in black velvet with a feather in her hair.”
Lavinia: “She's in the morning room looking perfectly normal. Don't be such a snob aunt Constance.”
Aunt Constance: “Me? I haven't a snobish bone in my body.”

So subtle and yet so intense, addressing serious issues and yet so hilarious it’s a choice that comes easily – almost too easily. The ensemble drama gives the writer much ground to cover, and Fellowes does it with aplomb. He travels upstairs, downstairs and back again – but never tries too hard. Character development is vivid, but sometimes subtle we need to look (and listen) carefully…and just when you think you can put it in a box, he’s waiting to add something to new. Perfect.

     

Twelve originals and thirteen adaptations make up my twenty favourite screenplays. The ones with asterisks (seven) were, unfortunately, ignored by the Academy.

     

Which screenplay from the last decade would you want to take credit for?

Flashback: Match Point

Woody Allen is a bit of anomaly himself. His work is always tinged with what seems like wild abandon while still retaining that obvious smidgen of self conscious that makes you aware that he’s very aware that you’re aware of all the little tics he’s giving his characters (in terms of dialogue). His attempts at being self-effacing work as much as they don’t and it’s probably why he’s most “suited” for comedy (though I’ve still to see a number of his important dramas). Match Point is every bit like that, and the fact that it’s protagonist and de facto female lead are consciously and deliberately using their words to trap us only make the film seem a little smug, but I like smug. Early on Chris asks Nola Rice, “What did I walk into?” After a sudden turn of events she replies almost immediately, “What did I into?” By this time, the audience is probably wondering the same thing and it’s too Woody’s credit (but not his alone) that we leave the film still uncertain of what we’ve just taken part in.

Match Point is not a rags-to-riches tale, though such a description could suffice for a time. Chris is a personable and ambitious young man who temps as a tennis trainer; he meets an affable rich girl and strikes up a romance and steadily climbs in her father’s company as he overcomes the troubles in their marriage. The end? Yes, but not the whole story. Nola Rice is a struggling actress and the girlfriend of Chris’ brother-in-law. She’s temperamental and American and nothing suitable for this British upper-class family. Like Chris she’s an outsider, unlike Chris she’s not that good of an actor. Unsurprisingly, they’re drawn to each other and their relationship turns Match Point into many things – a melodrama (perhaps), a fantasy (likely), a tragedy (to a point), a thriller (always), a whodunit drama (maybe, maybe not). But Match Point isn’t interested in being part of a genre. It is similarly like and unlike anything we’d usually see in the cinemas. It was moderately successful upon its release and months later its brilliance had waned (according to the public at least). It went from a potential Oscar dark horse, to a nominee for its screenplay – nothing more. Yet I’d list Match Point easily among the decade’s best. Woody’s writing is a staple; I sincerely believe there’s nothing that he cannot do. His writing is so good we tend to forget how adept he is at bringing out the best in his actors (see Wiest, Farrow, Tilly, Keaton), and if the house of Match Point is built on Woody’s words then the acting is everything else.

I have been a fan of Scarlett Johansson for a long time, before it was the cool thing and after it was the cool thing. I still consider her to be one of the best actresses in her age bracket. Her problem, like so many is realising her strengths. She is more resourceful than we realise (just look at the three performances Woody has led her to) but Nola Rice is the perfect creation for her. It’s the sort of woman we don’t know when to trust (if at all) and Johansson’s natural cadence works well even in moments where Woody almost falters (e.g. that coffee shop confession piece plays like a gem despite it’s script issues). What do I know? Maybe she is playing herself? But what the hell do I care when she’s playing it so excellently? She doesn’t have the shouting voice so Woody’s words let her get all those soft line readings in just beautifully. I wonder if erred on Wednesday in leaving her pairing with Jonathan Rhys Myers off the list of beautiful screen couples. When Woody has Chris say “Has anyone told you you have very sensual lips?” I can’t help rolling my eyes. Just look at them, for god’s sake. Ugh, they’re gorgeousness makes me sick.

Looking in from the outside Match Point’s payoff shouldn’t work, but I’d be the first to tell you that it does – excellently. Jonathan Rhys Myers is talented (even though I forget sometimes) he’s doing excellent work on The Tudors and with the exception of maybe Woody himself (and perhaps John Cusack) he’s my favourite Woody leading man. It’s not a popular choice, but each of Rhys Myers strange acting idiosyncrasies (his penetrating stare is a bit scary at times) works perfectly for Chris. The supporting cast don’t stand out as much as most Woody films, but Brian Cox and Emily Mortimer particularly are delights to watch, well as delightful as one can be in such a dryly humorous tale. Anyone who says Woody's heyday finished in the nineties is clearly not paying attention.

         

How was Match Point and its lead performances held up for you? Do you share my love?

Oh Jonathan, Jonathan, Jonathan. What Happened?

I’ve been waiting for about five years now for Jonathan Rhys Myers to turn into the next rising star in Hollywood and still no avail. It’s a good thing I’m not the betting type, I’d have lost a crapload of money by now. The first time I remember him was in 2005’s Match Point. Sure I was getting all hot and bothered for Scarlett in what has since endured as her best performance (thus far) but I was impressed by Jonathan as the sly Chris. It’s the sort of performance than you expect to be a star making one. Woody always caters to his actors and it was a leading role. True, Match Point didn’t catch on like it was supposed to but it wasn’t a bust. It was underrated, but not hated. Still nothing happened.

Then along came The Tudors. I haven’t watched it in a while but for the first two seasons it was one of the best shows on TV and I still can’t understand how the hell he didn’t end up with at least an Emmy nomination. I’m still royally pissed about that – pun intended. Now obviously, it’s a British series and whatnot but I don’t get what the Emmy was trying to prove since they were nominating it left and right for technical awards but nothing for the writing, direction and nothing for Jonathan. He’s been coasting along since – August Rush was passable, but still nothing exceptionally good (or bad). And then – From Paris with Love. What can I say? I wonder who the target audience for this film is. The illogicality of it all is simply astounding and when did Jonathan turn into a bad actor? I mean I’ve never been a fan of Travolta and the ship has sailed on his good days, but Jonathan was sooooooooooo wooden. Does bad acting (Travolta’s) transfer through proximity?

To say the least, I’m disappointed. I was hoping back in the day that he’d turn into the new Jude Law - and you know how I feel about Jude -  but that doesn’t look too promising. Maybe he just has a really bad American accent…that would explain much. But I can’t make any excuses for From Paris with Love. Just bad, bad, bad. Sheesh. Thank god I saw it for free.

          

Jonathan in The Tudors (Seasons 1- 2): A-

Jonathan in Match Point: B+

Jonathan in From Paris With Love: C-

From Paris With Love: D-

Parents, Lock Up Your Children: Cinema's Best Sex

In what was pure jest, I suggested that The Mad Hatter continue his list of five greatest screen kisses by highlighting five greatest screen f&*%s. It sounds a bit crass, but sex is a given in films - how it turns out is another story. He suggested I do the list, and it was difficult and simple at the same time. Now I understand why making a top 5 is so difficult, five is a number that sucks. Too small. So firstly, I'd like to give some runners up: West Side Story and Romeo & Juliet both had beautiful scenes of lovers in bed, but for the life of me...I can't remember any actual sex. Sure the latter had naked butts, and the former had beautiful singing...but not quite the best. The Curious Case of Benjamin Button had two beautiful people in bed and Fincher did not make it gory like his last Brad Pitt outing. Ralph Fiennes preforms well (intended pun) in The English Patient and The End of the Affair and I would be remiss to not mention A History of Violence, Cold Mountain and The Reader - but on to the five.

    

#5 Sex In the Rain: Scarlett Johannson and Jonathan Rhys Myers in Match Point

Every movement these two make is tinged with overt sexuality, it's overwhelming. There is a particular scene involving a blind-fold that's quite...ummm....stirring, but strangely the sexiest of them all is the one with the least bit of screen time. Nola has just been insulted by the mother of her bourgeoisie fiance. She stalks out into the rain and Chris follows her, with a purpose. Scarlett + rain=awesomeness.

                 

#4 Sex in Cafes: Diane Lane and Olivier Martinez

Why is cheating sex so delicious? Don't ask me. Ask these two. Adrien Lyne loves his sex (see Glenn Close for proof) and Unfaithful has many of them but they become more striking as it becomes more risky. That aggressive experience in the cafe while her suburban friends wait outside is memorable and well worth your time (not being nasty).

     

#3 Elizabethan (Poetic) Sex: Gwyneth Palthrow and Joseph Fiennes

His brother missed the mark, but the other Fiennes makes it. Shakespeare in Love is a lovely comedy, but that sex scene has been remembered for many reasons (including Palthrow's mammaries). Will has just found out that Thomas Kent is Viola De Lesseps, the lead is awesome. She asks "Can you love a player?" He answers, "Can you love a fool?" The unwrapping of her bound chest is sooooo romantic (swoon, ha) and Imelda Staunton's incessant rocking doesn't make it any less sensual. Lovely stuff. If only Cate had had a similar sex scene you know she was getting that Oscar. Grrr.

             

#2 Literary Sex: Keira Knightley and James McAvoy

This scene works on two levels, I'll begin with the boring one. Atonement rests on the fact that a note binds it all together, and on a larger scale Briony's novel hence it's so wise to have the (only) sex scene in a library literally on the books - the very thing that shapes their lives. Okay, enough of symbolism. On the good stuff. Robbie and Cecilia grew up together, but have grown apart. Still, the attraction is there and when a note mistakenly reaches her they confess their devotion. Then consumate it. Obviously Robbie is a rebel. Standing sex? Not British at all, who would have thought fully clothed stuff could be so...scintillating. It took me a long time to forgive Saoirse Ronan's interruption....

       

#1 Sex in the Carriage On A Ship: Kate Winslet and Leonardo DiCaprio

Need I go on? Well my heart will...go on. We know the story, Rose and Jack escape from Cal's bodyguard and find themselves in the room with carriage. Even before the sex it's nice. He climbs into the driver's seat." Where to miss?" He asks. She says: "Take me to the stars." And he does. That hand on the window, the kissing of the fingers - is there any way to deny this legendary scene? I don't think so...

      

...But maybe you do. What is your favourite bedroom (not literally) scene.

   

NOTES: It's interesting, three of the featured women went on to Oscar nominations (Winslet, Palthrow, Lane) with Palthrow winning. Johansson and Knightey were Golden Globe nominated. Yet none of the men saw Oscar love...Is there a trend here?


PS. Did you try to guess the answer here? Please do.