Winning an Oscar for Best Screenplay is almost as good as winning one for Best Director. It keeps the film alive and points out what really drives a great movie.

This year, two stellar examples (โ€œAnatomy of a Fallโ€ and โ€œAmerican Fictionโ€) demonstrated the point. โ€œOppenheimerโ€ may have won Best Picture and Best Director but it ceded the writing prize to โ€œAmerican Fiction.โ€

Written by Cord Jefferson, the comedy was a great look at society and the shifts that people face. Theolonious โ€œMonkโ€ Ellison is a respected scholar and lecturer but what does he do when his novels tank and his teaching career is at a standstill? At a book fair, he notices who draws the crowd: a street-heavy story called โ€œWeโ€™s Lives in Da Ghetto.โ€

This image released by MGM shows Jeffrey Wright in a scene from "American Fiction." (Claire Folger/MGM-Orion via AP)

The author is someone with a prestigious background, not a tough life in the inner city. Does he sell out and follow her lead? Or does he rail against stereotypes and plot a different course? Thatโ€™s the fun of โ€œAmerican Fiction.โ€

Itโ€™s obvious what sells but Jefferson, who also directed, makes the journey so compelling you wonโ€™t be able to guess how Ellison wraps it up.

With Jeffrey Wright as the torn writer, โ€œFictionโ€ is even more intriguing. He can play both offended and offensive with equal ease and isnโ€™t above sinking low for a shot at success. Life gets sticky, however, when eager readers want to know more about his alias, Stagg R. Leigh, and that tough upbringing.

In contrast, we see Ellisonโ€™s family โ€“ successful siblings and a mother dealing with dementia. When Leighโ€™s book is short-listed for an award, life becomes complicated and a crisis of conscience for its author.

This image released by MGM shows Sterling K. Brown in a scene from "American Fiction." (Claire Folger/MGM-Orion Releasing via AP)

Jefferson, adapting Percival Everettโ€™s novel, โ€œErasure,โ€ doesnโ€™t cut anyone breaks. Sinatra Golden (Issa Rae), the woman behind โ€œDa Ghetto,โ€ has answers to his pointed questions and isnโ€™t about to say she wrote it for financial reasons. Instead, she says she based it on interviews and is giving voice to another segment of society.

Ellison doesnโ€™t have the same out. He wants the money; he doesnโ€™t want the backlash that comes from writing Black stereotypes. So, he plays the game, agreeing to phone interviews and concocting a colorful past for Leigh โ€“ one that could easily be checked.

To complicate matters, thereโ€™s a hot director (nicely played by Adam Brody) whoโ€™s interested in turning the book into a film.

At home, mom (Leslie Uggams) isnโ€™t getting any better and Monkโ€™s siblings (Tracee Ellis Ross and Sterling K. Brown) are pushing him to take a stand.

This image released by MGM shows Erika Alexander, left, and Jeffrey Wright in a scene from "American Fiction." (Claire Folger/MGM-Orion via AP)

Wright is so good at countering all the forces you wonder when his meltdown will occur. Reminiscent of other imposter stories, โ€œAmerican Fictionโ€ manages to take on both the literary worldโ€™s fascination with newly discovered talent and the desire by established writers to remain relevant. Jefferson forces his leading characterโ€™s hand and gets a Wright we havenโ€™t seen before.

Gem-like performances from Rae, Ross and Brown add to the filmโ€™s luster. โ€œAmerican Fictionโ€ has โ€œVEEPโ€-like tendencies and a resolution that says thereโ€™s a price to pay for messing with the faux status quo.


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ย Bruce Miller is editor of the Sioux City Journal.ย