Film

Guilded: Part 2

Well, at least they ended the suspense before any real curiosity could be created. The Writers Guild of America, currently picketing the pleasantry out of the awards season, announced the nominees for their 2007 accolades. Divided into categories for Best Original Screenplay, Best Adapted Screenplay, and Best Documentary (which, apparently, is considered an indirect form of writing), the organization at the center of current industry chaos took a moment off to praise their own people. With the recently truncated Critic's Choice Awards, the all but called off Golden Globes, and threatened Oscars giving the industry pause for concern, many wondered how the striking organization would handle their own stab at trophy time. Of course, they cut out all the speculation by simultaneously announcing that their own banquet for recognizing the winners would be cancelled as well.

It wasn't the only intriguing thing about the WGA's nods. Since they follow the Academy mandate and recognize both original and adapted work, the writers decided to do what Oscar doesn't and give comedy a little love. Humor was the basis for 80% of the screenwriter-created category, while drama took 20% (seriousness is the only thing featured in the book/play to film translation category). Rumors also circulating that the WGA posted its list of choices in order of winner and runners up. Even after a similar slip up was reported last year, and a supposed randomization was used to re-identify the contenders, it appears the same thing has happened again. So in the name of all that's fair, SE&L will scramble the names in that good old statistical standby - alphabetical order. That way, a small amount of surprise is left come disclosure. Let's begin with:

Best Original Screenplay

Diablo Cody

Juno

The Oscar for Best Screenplay (Original or Adapted) is often referred to as the 'Runner Up' award. It is usually given to the artist or newcomer who, while outside the studio system or movie mainstream, deserves recognition for what they accomplished. It's where the Coens, and Quentin Tarantino earned their only Academy acknowledgment. Cody should be prepared to have her name listed among this illustrious number as well.

Judd Apatow

Knocked Up

In a perfect world, Apatow would be handed the keys to the cinematic kingdom. After single-handedly saving big screen comedy this year, and inspiring many to once again take up the cause of motion picture wit, some peer recognition would be nice. While Superbad got all the gross out geek love, this is the better movie - from both a performance and screenplay position.

Nancy Oliver

Lars and the Real Girl

Here's a pleasant surprise, the recognition of a truly quirky movie that seemingly got lost among Juno's growing grrrrl power. Critics who had problems with this film often listed Ryan Gosling's oddball performance as the main problem. Others argued with director Craig Gillespie. No one had a bad word to say about Oliver's solid script, however. While it probably won't win, it's nice to know someone was paying attention.

Tony Gilroy

Michael Clayton

Of the two Guild awards earned by this film, this is the one that makes the most sense. Gilroy is not a solid director (some of his pro-actor histrionic choices mar this movie), but you can't deny the power in his writing. In a clear case of giving some respect to an effort that might otherwise go unnoticed, this nod feels like the final payoff.

Tamara Jenkins

The Savages

Here's the nomination that really throws us. The Savages is a strange film. It's either undermined by its performances (mainly the mannered work of Laura Linney), or it's a victim of a poorly conceived and sloppy script. One imagines that Guild members, wary of having to take care of their own aging parents, gave Jenkins a handout. There are definitely better efforts out there.

Best Adapted Screenplay

Ronald Harwood

The Diving Bell and the Butterfly

This one's as confusing as The Savages, but for decidedly different reasons. Without a doubt, Julian Schnabel's work is far more satisfying than Jenkins' dour jokefest. But with so much of the material lifted directly from Jean-Dominique Bauby's book, and the reliance on visual vs. verbal cues to tell the tale, it seems like a stretch to award the otherwise fine film for its writing.

Sean Penn

Into the Wild

In one of those 'hard to mess up' situations, Penn's persistence with the devastated McCandless family (and their desire to keep their son's story sacred) guaranteed that Wild would work on some level. But matched with the actor's newfound visual flare, and the undeniable emotion inherent in the story, this could be a case of the sum being greater than any one part - including the screenplay.

Joel and Ethan Coen

No Country for Old Men

It's interesting that the Coens are the only team of writers nominated in the screenplay category (documentary does have a trio). Of course, when they make a movie jointly, they are always listed together, even if directing is more Joel's area of expertise. As adaptations go, this is a first rate reconfiguration of Cormac McCarthy's dark and very dense novel. The presumptive favorite, one guesses.

Paul Thomas Anderson

There Will Be Blood

Whether or not Anderson can win this award has a lot to do with what the Guild considers a successful book to screen translation. Upton Sinclair's Oil! is definitely part of the narrative strategy, but the auteur also goes off on enough flights of personal fancy to make much of this movie his own. If strength of direction and acting were factored in, he'd definitely win.

James Vanderbilt

Zodiac

Talk about your dark horse picks. When people discuss the unforgettable work done in this '70s throwback police procedural, few are focused on Vanderbilt. In fact, director David Fincher and his commendable cast usually get first kudos, followed quickly by anyone involved in the look and feel of the film. That someone actually recognized the difficulty in condensing this complex story into a sound, suspenseful thriller is remarkable.

Naturally, SE&L thinks there are a few overlooked or unconsidered scripts that deserved credit as well. Somehow, the WGA decided to neglect these wonderful examples of the written narrative, and choose the 10 efforts above. Any one of these would easily replace at least one (if not two) of the wonky choices provided, beginning with:

Edgar Wright and Simon Pegg

Hot Fuzz

The insane minds behind Shaun of the Dead deliver the definitive lampoon of big budget action cop buddy action movies while systematically satirizing the concept of 'being British'. It's a work of undeniable genius from beginning to shoot 'em up end.

Ben Affleck and Aaron Stockard

Gone Baby Gone

We know Affleck can write - he has his own little gold man for cranking out Good Will Hunting. This stellar thriller proves that said statuette was no fluke. While earning some cred, this film will probably end up 2007's most unappreciated - and that's a shame.

Wes Anderson, Roman Coppola, and Jason Schwartzman

The Darjeeling Limited

Like watching a novel unfold on screen, the work of these terrific storytellers lifted what could have been mannered and manipulative into something quite magical. This is the most human and heartfelt movie Anderson has ever made - and the scripts the reason why.

Aaron Sorkin

Charlie Wilson's War

Apparently, burning one's bridges among the Tinsel Town talent pool means that, even when you do something substantially right, you get little recognition in response. Sorkin may be a sourpuss, but his biting work on this non-fiction adaptation deserves more than mere pat pleasantries.

Kelly Masterson

Before the Devil Knows You're Dead

The twisted turns and tricks of a complex crime story are hard enough to navigate. Now imagine being a first timer creating a Rashomon like narrative for directorial legend Sidney Lumet. But that's what Masterson did, and the results were stellar. Her efforts deserved to be recognized.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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