Word: scripting
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Dates: during 1990-1999
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...beginning to tighten around him. Given an assumed name and occupation, he enters the country, and the home of Harrison Ford?s Tom O?Meara, as an ordinary immigrant needing a sponsor. Since Tom is a New York City cop of unquestionable honesty, Frankie?s cover is perfect. The script (by David Aaron Cohen, Vincent Patrick and Kevin Jarre) is good about not making too much of this relationship, subtly foreshadowing the betrayal that must come, but allowing these figures room to draw normal human breath. "Pitt and the script cheat a little with his character, not investing him with...
Eliminate both Secrets & Lies, inexplicably nominated since it was shot without a script, and Shine, since biography seldom wins awards for originality. After that it's a toss-up. Fargo got more recognition for its visuals and its characters than for its script, but that's where it all started. Jerry Maguire dared not only to turn a star vehicle into an actual character piece but also to create several likable, believable men and women (and it gave America "Show me the money!") John Sayles's Lone Star was overlooked in every other category, but its dense novelistic structure makes...
...here, since Kenneth Branagh preened so much over not altering Shakespeare's text. Arthur Miller is a hard name to ignore, but the Academy and the public have found it in them to ignore The Crucible altogether. Not enough people understood the accents in Trainspotting to know if the script was any good. That leaves The English Patient and Sling Blade, both of which created complex characters and entire communities, and both of which have key support from the massive actors' branch...
...hour and a half, and Mamet himself cannot quite pull it off. Oleanna plays a little too fast and loose with its characters to be quite as compelling as one would like. The production of Oleanna mounted last weekend at the Loeb Ex, however, further compromised an already flawed script. In adapting a play about the complexities of meaning, director Leah Altman '99 and her cast took a fatally broad, superficial approach to their tricky material...
...boldest power plays in Oleanna are those that the script plays against its own characters. In the first act, Carol's whiny narrowness is hopelessly outmatched by John's self-assurance. Davidson deftly expressed John's arrogance, reading the line "I love you, too," spoken to his wife over the phone, not as a response to her own affection but as a pompous self-affirmation. "I love myself first," he implicitly states, "and I also love you." Kaye, for her part, squeezed a few unlikely laughs out of Carol's anxious despair in the face of confounding verbiage like...