The Artist cleans up with seven BAFTAs

The BAFTAs marked the one last pit stop for The Artist before its upcoming big night at the Oscars. The film won seven awards from the Brits: Best Picture, Director, Actor, Original Screenplay, Cinematography, Costume Design, and Original Score.

While no one can say that The Artist winning was unexpected, I have to say that its dominance at the BFTAs was a bit more pronounced than I might have thought. I mean, seven? I have doubts that it can translate that many of its Oscar nods into wins, but you never know. Even though I'm currently predicting different films to come out on top in Screenplay, Cinematography, and Costume Design, those are all still reasonable gets for The Artist.

The Oscar-snubbed doc Senna enjoyed a pair of wins for Best Documentary and Film Editing (I'm very pleased for editor Chris King, who should have been in the Oscar discussion last year for Exit Through the Gift Shop). Tinker, Tailor, Soldier, Spy also took home a deuce for Best British Film and Adapted Screenplay, a bittersweet moment for Peter Straughan, whose wife and writing partner Bridget O'Connor's win came posthumously. Hugo also won for Best Production Design (unsurprising) and Sound. I do feel that those sound awards at the Oscars are ripe for the taking, but I'm sticking to my guns on War Horse.

All winners after the cut.

One Category at a Time: Adapted Screenplay

As it is with Best Original Screenplay, the crop of Adapted Screenplay nominees this year includes the two legitimately best adapted screenplays of the year, but also a couple I could have done without. It's still a good lineup on the whole, and the race between the two frontrunners is just close enough for me to have an active rooting interest in this category.

My Awards nominations: Adapted Screenplay

Strong crop this year. Here's what I deem the best Adapted Screenplays of the year:

Drive (Hossein Amini):
The irrepressibility of one's true nature is a theme that's startlingly made in Drive. Amini minimizes dialogue and focuses more on implied backstory to illustrate the driver's character.

The Ides of March (George Clooney, Grant Heslov, Beau Willimon):
Clooney et. al. realize that making the actual politics the meat of this story would either alienate or bore their audience, so they wisely keep it on the side, keeping the screenplay lean, polished, and efficient.

Moneyball (Steve Zaillian, Aaron Sorkin, Stan Chervin):
While not one that always pops, the script does brim with ideas. The dialogue willfully revels in awkward beats that force unspoken characterization. Anyone who can make baseball stats interesting has to be a good writer!

Tinker Tailor Soldier Spy (Bridget O'Connor, Peter Straughan):
This is a thoughtful and attentive screenplay that intentionally moves a bit slowly, but at least it allows its audience time to process all the little narrative cogs that compose the complex plot.

We Need to Talk About Kevin (Lynne Ramsay, Rory Kinnear):
The book's more objective narration is translated into a brilliant first-person character study that comes tinted with its character's guilt and confusion. Cleverly structured as a pseudo mystery.

Just missed: The Help, Project Nim, Tintin