This year’s best adapted screenplays are based on an interesting crop of source materials, from single characters to classic novels. I typically prefer an original screenplay, but the nominees in this category are still imaginative and insightful. Each of them build on the stories and characters they are based on, which is not as simple of a task as one might assume.
Thirty-six years after the original film came nowhere close to a screenplay nomination, “Top Gun: Maverick” crashed this race as one of two sequels in the running. My favorite part of this script is its commentary about a human’s relationship with machines. In this case, the quarrel is between a traditionalist like Pete “Maverick” Mitchell and the automated world that is swiftly encroaching on his way of life. It’s stunning that this movie is even half as smart as it is.
The other sequel in this bunch is “Glass Onion: A Knives Out Mystery.” Referring to this as a sequel is somewhat disingenuous, as I believe there are no clear references to the original “Knives Out” film in this script. Nevertheless, getting another story about Daniel Craig’s Benoit Blanc is such a gift to the cinematic landscape. Can we get one of these every year? Rian Johnson just does not miss. He continues to find ways to subvert tropes while still paying homage to his influences.
“Living” is more of a remake than anything else, as the screenplay for it is based on Akira Kurosawa’s classic film “Ikiru.” This time around, the story is set in 1950s London. Writer Kazuo Ishiguro was born in Japan but raised in Britain, so he has a unique perspective on this story that pulls from both sides of his upbringing. Most notably, this is the screenplay that finally propelled veteran character actor Bill Nighy into the Oscar race.
“Women Talking” is based on the novel of the same name by Miriam Toews. I had assumed this would be a standard film with morals I have heard a million times, but I was extremely wrong. I’ve not seen many films that are as thoughtful and empathetic as “Women Talking” and the fact that it is written from a female perspective adds a legitimacy to the messaging that really makes it stand out. Sarah Polley did an incredible job adapting this material. If the universe has any sense of justice, Polley will be delivering a victory speech.
“All Quiet on the Western Front” is a very loose interpretation of the classic World War I novel. If you want the best possible retelling of the novel, you will want to watch the 1930 version (which I prefer). This version tells a different story that portrays the political climate of Germany more readily and is very much a passion project for writer-director Edward Berger. He and his collaborators took creative liberties, but it is an adaptation after all.
Nothing ever feels secure in the best adapted screenplay category. In the past few years, this has been a category where the winning momentum has shifted gears at the last moment. Last year’s best picture winner “CODA” was a late-breaker that needed a screenplay win to establish itself as the overall frontrunner. Could we be in for a repeat of that narrative with “All Quiet,” “Top Gun” or “Women Talking?” Or will we get a major shocker by way of “Glass Onion” or “Living?” The waiting is almost over.
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