In the real world, copying somebody else's written material for your own personal gain is called plagiarism. In the movie biz, it's called adaptation.
Since 1940, the Academy Awards have distinguished the adapted screenplay in its own category, honoring films whose scripts were derived primarily from books, plays, and short stories. But the occasional Best Adapted Screenplay nominee can credit its source to other media — such is the case for this year's nod, the true story thriller Argo.
Ben Affleck's directorial feature, written by Chris Terrio, was actually born from a WIRED magazine article by journalist and film producer Joshuah Bearman in 2007. The piece, titled "How the CIA Used a Fake Sci-Fi Flick to Rescue Americans from Tehran," was a chronicling of CIA operative Tony Mendez's unorthodox plan to retrieve a group of American diplomats from a hostage crisis in Iran in the late 1970s. Bearman penned the article following the declassification of the CIA documents describing the events.
Argo's company in this year's Best Adapted Screenplay category draw from more traditional sources: the scripts for Life of Pi and Silver Linings Playbook each comes from its eponymous novel, written by Yann Martel and Matthew Quick, Respectively; Steven Spielberg and screenwriter Tony Kushner cite the nonfiction book Team of Rivals: The Political Genius of Abraham Lincoln by Doris Kearns Goodwin as the source for their biopic Lincoln; and the story of Beasts of the Southern Wild writer/director Benh Zeitlin was inspired by his co-writer Lucy Alibar's own play, Juicy and Delicious. Heck, even Argo does accredit some hardcover material with the machination of its script alongside the aforementioned original article (Bearman's book The Great Escape, in which he expands on the topic, and Agent Mendez's own account of the event, his memoirs The Master of Disguise). The category has housed a great majority of projects with roots in the forms of book and play. But there are a handful of interesting outliers, spanning from 1931 all the way to the present...
Skippy (1931): Predating the separate Best Adapted Screenplay and Best Original Screenplay categories, the family-friendly Jackie Cooper starrer was adapted from the syndicated comic strip of the same name.
Mrs. Miniver (1942): The romantic drama about the dawn of World War II drew from a series of columns in Great Britain's The Times newspaper, wherein the titular character Kay Miniver was created.
Boomerang! (1947): The true story of this film noir was first chronicled in a Reader's Digest article by journalist Fulton Oursler (under the pen name Anthony Abbot).
Marty (1955):The classic romantic drama was the first of several films to be adapted from a teleplay — Paddy Chayefsky wrote both the big and small screen versions of the story.
I Want to Live! (1958): Another film noir drawn from true events, this film extrapolated its story about a woman on death row from letters penned by the basis and namesake for its main character, Barbara Graham. A second source for the movie came from a collection of newspaper articles from journalist Ed Montgoomery.
Lawrence of Arabia (1962): The life of British Army officer T.E. Lawrence was chronicled in this classic epic, thanks to the adaptation of the collective writings from the hero himself.
Pennies from Heaven (1981): Ever since Marty, a handful of films has earned nominations for adapting television movies to film; this was the first, however, to earn a nod for adapting a television miniseries (the 1978 BBC drama of the same name).
The Insider (1999): Another film drawn from a magazine article, this time from Marie Brenner's Vanity Fair piece "The Man Who Knew Too Much," about tobacco industry whistleblower Jeffrey Wigand, played in the film by Russell Crowe.
O Brother, Where Art Thou? (2000): Classing up the list a bit is this Coen Brothers comedy, which adapted its script from Homer's epic poem The Odyssey.
Ghost World (2001): The first film to earn a nomination for a script adapted from a graphic novel came from Daniel Clowes, who turned his own comic book Ghost World into this comedy-drama.
Shrek (2001): In the same year, this blockbuster animated film pioneered the category's nomination of a script with another type of source: picture book (William Steig's Shrek!).
American Splendor (2002): The brilliant comedic biopic drew its material from the works of subject Harvey Pekar and his wife and fellow comic book author Joyce Brabner (American Splendor and Our Cancer Years, respectively).
Before Sunset (2004): Richard Linklater's screenplay was considered an adaptation, due to its use of characters from the preceding film Before Sunrise, which was written by Linklater and Kim Krizan.
A History of Violence (2005): Another graphic novel adaptation — screenwriter John Olson brought John Wagner and Vincent Locke's A History of Violence to screen with this picture.
Borat (2006): It might surprise you to recall that the Academy recognized this bawdy film with a Best Adapted Screenplay nomination; the film was considered an adaptation of the character developed by Sacha Baron Cohen for his small screen venture, Da Ali G Show.
In the Loop (2009): In the same vein, Armando Iannucci transported his The Thick of It hero Malcolm Tucker to the big screen in this satirical film.
District 9 (2009): Cutting it a little close to home, this sci-fi drama/parable for human intolerance and oppression was actually adapted from another movie — a short film titled Alive in Joburg.
Toy Story 3 (2010): Borrowing the characters from the original Toy Story, a new assortment of screenwriters vied for the Oscar in this magnificent threequel.
[Photo Credit: Warner Bros; Fine Line Features]
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Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
S1:E1 Rounding up Showtime's Sunday night lineup is Shameless, starring William H. Macy as Frank Gallagher, a drunk father with enough stubble to clothe a recently sheared sheep, who's completely incapable of caring for his six kids. He spends his disability checks on drinks at the local bar and likes to fall asleep asleep on the floor with a box of Cheese-Its under his head. This means his oldest daughter Fiona, played by Emmy Rossum, has the responsibility of caring for her siblings by getting them to school on time and making sure they all have jobs by the time they're 9 years old.
This was only the pilot episode, so I'm going to refrain from dwelling too much on the times when the writing seemed like screenwriter writing as opposed to actual character dialog. I'm going to try and postpone talking about the times when William H. Macy is obviously acting, instead of really becoming the man who's such a drunk that he doesn't wake up when his daughter kicks him in the ribs. However I'm not going to postpone saying this episode seemed totally disjointed: it was hard to be told of how horribly Frank's alcoholism (which isn't acted very well at all) has affected the family, and then be asked to the capacity to laugh when Lip (Jeremy Allen White) tells the girl he tutors in physics that he still has to charge her for the session, even if she does give him a blow job. Viewers were pulled in two very different directions in the first episode -- they were asked to forget the father's lifestyle because of how tightly knit it has made the siblings, and it was bold of producers Paul Abbot and John Wells to do this. Even though Abbot says he set out to create a show full of characters who's sofa we'd want to hang out on, I'm not sure it's hardly even a house we'd want to live next door to. But let's go through the episode's high points anyway.
"It's not a case of whether or not I agree, it's a fact. If I were a single parent and i had tits, they would double the money. If you're a guy, they don't want to fucking hear it." - Frank
When Frank drinks with his kids, he spends his time defending the reasons why he's become an alcoholic. One of the main excuses he keeps coming back to is that his wife died and left him with six children to take care of, which is extremely stressful and too much responsibility for him. He makes his beliefs clear by just shunning his duties altogether and by rolling joints with his kids. He also frequently pontificates about how unfair it is that he doesn't receive more benefits (even though he spends all $700 of his disability checks on booze) so he can better support his family, and believes his checks aren't for more money is because he isn't a woman.
So, we'll see. I expected a lot more from Macy and for the first episode to have a lot more concrete direction. My instinct says the show could be very compelling, but judging by what we all saw last night, it might take a little bit more time to get there.