Anorahas defied the odds tosweep at this year’s Academy Awards, withSean Bakermaking Oscars history by becoming the first individual totake home four awards for one movie. Since the Academy clearly lovedAnora, it seems right that they award every aspect of it since they all work cohesively for major impact. However, there is one category that should’ve seenAnorafall short: Best Original Screenplay.The winner really should have beenJesse EisenbergforA Real Pain, mirroring the outcome at the BAFTAs. That isn’t to sayAnora’s screenplay is bad; in fact, its ability to capture the spirit of Brooklyn’s underbelly in an authentic way is highly commendable. However, there is somethingso humble about the simplicityofA Real Painand the way the screenplay shows Eisenberg’s intense grasp on character, dialogue, and the human experience. While it did see a win inKieran Culkinfor Best Supporting Actor, it more than deserved its flowers in the writing category.
The screenplay forA Real Painis anexceptional piece of writingbecause of its ability to replicate the human condition in such an understated way.The movie is incredibly insular with a limited cast and lack of real inciting incidents. It truly lives and dies on its screenplay. Put simply, you can recall the major beats of the movie without any real need for explanation; it is ajourney of family history and self-discovery. The characters are constantly moving from attraction to attraction, there is never truly any stakes, and the structure could easily become mundane and repetitive. However,Eisenberg uses dialogue to drive the narrative and make the plainness captivating.
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Through its stripped back nature,Eisenberg gives the audience space to breatheinA Real Pain,which is vital to allowing the importance of its subject matter to remain central. The plot may be simplistic, but Eisenberg knows the importance of each location and the consequences of the character’s emotions. He uses the moments in between, during travel and rest periods, to develop these individuals and show the mental toll the tour is having on them in different ways. The initial interactions feel hesitant and awkward, as the group barely knows each other. Then their connection builds as Benji encourages a group photo, before the tour’s climax at the concentration camp. This final moment has minimal dialogue, butEisenberg manages to show how these characters are connected in earlier scenes that drive the impact of those somber moments.He creates these powerful moments in a sparse script that is dialogue-heavy, which is hugely impressive.
Benji and David’s Relationship Is Central to ‘A Real Pain’
At the core ofA Real PainisBenji and David’s dynamic; if that falls flat, then the whole movie collapses. Their authenticity is the true brilliance of Eisenberg’s writing, as he manages to set out their distinct personalities within the screenplay’s first few pages.Neither reverts to monologue in the beginning to give the audience exposition and instead relies on subtext.This means their interactions are aconstant back and forth, which feels hugely believable. The ability to craft these flowing conversations that retain each cousin’s personality and are packed with wit is what should’ve clinched the award for Eisenberg.
Benji and David’s dialogue has to be thematically dense but believable and genuine, simultaneously. Benji flips between childlike freedom and this heavy sense of weight on his shoulders, and through his writing, Eisenberg makes his character charming yet frustrating. Obviously, this is heightened byKieran Culkin’s exceptional command of character, but Eisenberg’s initial foundation is what ensured this.Eisenberg’s choice to frame the story from David’s perspective heightens this. Throughout, David’s response to Benji evokes humiliation and embarrassment, allowing their dynamic to act as the low-stakes conflict and give a sense of purpose to the story.
Both characters have these moments of uncontrollable trains of thought, which contrasts their usual sharp dialogue. Eisenberg is able to highlight their differences in the distinction between these monologues.Benji says exactly what he thinks, so his speeches on the train and at the graveyard feel fittingly abrupt and succinct, as though they are coming directly from his foremost thoughts. In contrast, David’s speech at the dinner table reflects his tendency to bottle up his feelings and dwell on them until they spill over. His words are messy and convoluted, and it is this uncertainty that finally lands with the group. Both men have their insecurities, but their presentation of these feelings couldn’t be more different. Despite this,Eisenberg’s script celebrates their differences and how, through everything, they have a genuine love for each other.
A Real Pain
