For all its split categorizing - Drama and Comedy/Musical - so twice as many folks can go home a winner, the screenplay category is the only Golden Globe category that goes from unicameral to bi when it hits Oscartown. Everyone's in one mix at the HFPA. At the Oscars, not so. Thus, screenplay proves the only category where The Social Network and The King's Speech share a rare, "Reverse Golden Globe". While The King's Speech finds itself in what I hope is a true bout of fisticuffs against Christopher Nolan's masterwork, Inception -- The Social Network stands in the adapted category.
They're not head to head -- each could win.
While I have my doubts about Mr. Seidler snagging screenplay out from under Nolan or Cholodenko -- Mr. Sorkin seems a dead lock. Though Fincher's directing steers The Social Network roller coaster as smoothly as a shark slicing through a currentless sea -- the tracks for the ride were laid by Mr. "West Wing" himself.
I'll wonder for the rest of my days why Mr. Sorkin felt it necessary to use his Golden Globe acceptance speech to simultaneously disavow any criticism of Mark Zuckerberg -- as if that weren't the entire point of the film -- and announce to his daughter that smart girls have more fun. I watched his appearance on Oprah; I heard his explanation; I'm still confused.
But sliding right alongside my wonder shall be my marvel at Aaron Sorkin's crisp, flawless writing.
Forget whether there's an oddball line or a scene that could go. The Social Network is one of those rare cases where there damn well may not be a syllable out of place. From Rooney Mara's character indictment to Rashida Jones' vain "cheer-up" attempt -- this thing's moving as quick and tight as Glengarry Glen Ross, and as timely and witty as Network. It doesn't trump either of those puppies -- certainly not Mamet's stage play -- and you certainly can't trump Finch, Dunaway, Duvall, and Holden. But to mix these two into a drinkable cocktail that goes down smooth despite having some of the best barbs in years -- what else can you expect from Mr. "You Can't Handle The Truth!"
Adapted normally isn't this "in the bag." In hindsight, many of the wins seem perfectly logical -- but only once the film has taken picture. But just take a look at last year: Precious sure as hell didn't walk in there as the odds on favorite. Nor did The Departed, Return of the King, The Pianist, or Traffic -- and if you don't believe me on the last one, do yourself a favor and click on any Harry Potter film's credits: that award was supposed to go another way.
But this year, Sorkin's sitting pretty as a Coen boy -- and oddly enough, they're up against him for a sizable piece of writing. But it just doesn't look like this one is ultimately going Joel and Ethan's way -- they'll have to settle for the hundreds of millions True Grit's raking in -- far more than Social Network, I might add.
127 Hours and Winter's Bone need to rest happily in the fact that they have been nominated. Neither stands a chance. Mr. Beaufoy and Danny Boyle can continue to bask in the glow of their recent Slumdog sweep. Every single person involved with Winter's Bone should consider every bit of attention this tiny film has caught an absolute triumph. There's simply no way a multi-nominated night at the Kodak was how these folks saw this playing out. My hat is off.
And then there's Michael Arndt. Something tells me not to discount Mr. Arndt.
(Free drink to the humanoid who nails that reference).
Perhaps the slickest move I made this summer was sliding off my Real 3D glasses with one hand and sliding on my Wayfarers with the other: I was like a T-1000. I got right out of Murray Hill dignity in hand! Whether I maintained my dignity and how deeply I breathed trying to get oxygen back into my 'til then vice-gripped heart is frankly none of your business.
Arndt nailed Toy Story 3 absolutely remarkably. I've said it before and I shall say it again -- this ten picture nonsense cannot last. We will fall back to the five. When we fall back to the five, the animated pictures will be back out of the race and left to their separate category so actors can rest assured their faces will stay up there on the screen.
Pixar's consistent high-quality must scare the bejesus out of everyone -- but sooner or later, Hollywood's absolute fear and jealousy usually turn into standing ovations of praise. Whether it's waiting until 1993 to give Spielberg an Oscar -- never awarding Hitchcock -- or waiting 'til Return of the King -- Hollywood comes around.
Will they this time? Dubious seems the kindest Tim Gunn word I can use. But if not now, when?
Luckily, Arndt already has an Oscar for Little Miss Sunshine and TS3 is a lock for animated feature.
It's pretty tough to put happy former winners up against a man whose made the room a fortune in television series and what must be the most unpredicted residuals of all time from The American President -- can anyone believe how much play that thing gets?! Sorkin's a star -- A Few Good Men, Charlie Wilson's War -- and it's pretty tough to be a star writer for too long without an Oscar, unless of course you're a woman not named Jhabvala -- but that's an article for a different time.
Thus, I hope Michael Arndt kisses his original screenplay Oscar lightly on the head before limo-ing down Hollywood Boulevard. Stars align now and again -- just ask Julian Fellowes. But Sunday seems set for Sorkin.
- Matthew J. McCue
No comments:
Post a Comment