What the Oscars reveal about good writing
As Oscar Night nears, I’ve been movie viewing. Two years ago I decided I had approached this awards night unprepared too many times. Movie after movie was highlighted and praised, and too often my viewed flicks were limited to Disney and Pixar.
Then our daughters left home and I found myself no longer watching any theater movies at all.
My new MO is to list the Best Picture nominees and see as many as I can before the show. My current tally: 6 viewed, 2 still on the list.
I started with The Revenant (Leonardo DiCaprio). A “revenant,” BTW, is someone who comes back from the dead. Based on the true story of frontiersman Hugh Glass, it’s the story of a man who, after being mauled by a bear, is stripped of his weapons and left to die in the wilderness by his friends. Message for Novelists (MFN): Man Against Nature plots still work. Also, with an appropriate Author Note, the plotline of stories based on a true story can be massaged and altered to give a more complete character arc. (No spoilers, but after viewing the movie, look up the true story of Glass and see how they tweaked the ending.)
Next up was Bridge of Spies (Tom Hanks, Stephen Spielberg). With this talent, I knew it had to be good. Based on the true story of attorney James Donovan, which makes it even more incredible and appreciated. No tweaking with the story for arc’s sake—Donovan really was amazing. MFN: Look to this and similar true stories for inspiration, because they successfully define “hero.”
Then I saw Brooklyn (Saoirse Ronan) and fell in love with love. This is the romantic’s romance, a beautiful love story oozing with the charm, uncertainties and sacrifices of a bygone era. MFN: Love is timeless, and the movie reminds us that plotlines need not be complicated, convoluted or sensational to make a reader care, to make a reader cry.
The Big Short (Brad Pitt) surprised me. It tells the story of the banking industry’s collapse in 2008. From first glance, it seemed to be a distasteful topic. Who would want to revisit a flaming failure that left the middle class people bleeding, unemployed and homeless? MFN: The screenwriters triumphed with this by demonstrating that with care and creativity, a complicated story can be told in layman’s terms so everyone can understand it. I’ll still need to view it a few more times, just to absorb it all, but it’s a movie everyone with assets should see.
Spotlight (Michael Keaton) tells the story of the in-depth news team from The Boston Globe that broke the 2001 story of an unfrocked priest accused of molesting more than 80 boys. I admire films that tell the story after the fact. Everyone enters the theatre knowing the ending, so the strength of the story has to lie in the story’s middle. This film is classified as a drama/thriller, and the creativity and strategy with which the team overcame obstacles to find the truth may inspire writers of mystery and intrigue.
Room (Brie Larson) is another inspirational survival story, but with a twist. Jacob Tremblay is magnificent, an outstanding new child star. Based on the novel by Emma Donoghue. MFN: a static setting is not at all boring when presented with a compelling character study and the bond of mother and child. A memorable example of really getting into the skin of your characters. It’s definitely a book I’d like to read.
My journey continues as Oscar Night nears. Oh, and about the Vampire Breast Lift? It’s one of the gifts in the goodie bags that will be distributed to all the nominees. I’m sure the topic will be raised during the awards program.
What’s your pick for Best Film?