Skandies runners-up — scripts
Jane Campion, BRIGHT STAR — Yeah, there’s all that sissy Keats poetry and stuff, but that isn’t why Campion’s script is good. It’s because she begins from the POV of a character with artistic impulses of her own (I wish she’d done more with the feminist fashion-as-women’s-art subtext) and because she makes images that match without mimicking the poetry and/or letters being read.
Pedro Almodovar, BROKEN EMBRACES — Shucked it away earlier than usual for a Pedro script because, at the end of the day, it just takes too long to peel away all the layers. But nobody can braid storylines, play with multiple levels of discourse, and find an emotional connection in garish gestures and details than Pedro can.
Brock Norman Brock and Nicolas Winding Refn, BRONSON — I thought about short-listing Refn’s operatic direction, but then decided … no, here what works is really the script, which structures the film around several bold conceits. Tell a biographical story in an un-biopicky way — as a stage autobiography, performed without a real fourth wall by a man who wants to create his own legend in our mind. While at the same time, resisting the “Rosebud” temptation to have the gimmick be the explanation for “Bronson’s” life.
Andreas Dresen and Jorg Hochschild, CLOUD 9 — I compared this film in my Toronto capsule to SCENES FROM A MARRIAGE, and no higher compliment exists. The script structures itself around a to-and-fro between sexual reverie and bitter quarrels, the latter gradually taking over and then finally enfolding things.
Wes Anderson, FANTASTIC MR. FOX — Yes, I relented after declaring Wes! dead to me after THE DARJEELING LIMITED. Primarily because “Roald Dahl cartoon” sounded like something that would anchor and restrain him. It does somewhat, or at least makes the archness less annoying. It’s may be Wes Anderson’s CHICKEN RUN, but that’s still CHICKEN RUN.
Chris Rock et al, GOOD HAIR — Yes, seriously. It IS a documentary, but in the genre of the comic essay, not cinema verite. And while I don’t know how much of the on-screen comedy is improvised, when it’s being done by the same person performing and co-writing the voiceover, it’s enough to consider it a unified writing work. And on those terms — it was really funny. And edumacational without being hectoring.
Bahareh Azimi and Ramin Bahrani, GOODBYE SOLO — I freely admit that the last third is a bit … not exactly “contrived,” more like “telegraphed.” But like the Italian neorealists AO Scott and others have compared him to, and contrary to how Bahrani’s (and the Italians’) films look, Bahrani meticulously plans everything after working it all out with his non-pros. Everything that looks accidental or “real” is in Azimi and Bahrani’s script.
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