Christmas Film Reviews: “It’s A Wonderful Life”

Here we are, folks, at the very end of my December countdown. It’s Christmas morning, I have my trusty coffee and a slice of Alaskan bombe. Although the streets outside are devout of snow, today feels festive enough solely in spirit. True, I wouldn’t have minded a nice pile or two to dive in, but London persistently refuses to make a habit of that. Anyway, I’ll jump straight into my film recommendation for the big night.

“It’s A Wonderful Life” is perhaps the most well-known Christmas production of all time. Undoubtedly, a classic which has withstood the tests of time and the tidal wave of quality competition thrown its way. Released back in the cold winter of 1946, this film acted as a much needed reminder of life’s beauty. Ugly pictures of war and death had been showering newspapers and television programmes for too long. Hollywood’s first step towards reflecting this recovery came in motion pictures. “A Beautiful Life” was the only movie ever completed under director Frank Capra’s independent studio – Liberty Films. His desire to break free of the Golden Age’s repressive, Capitalist exploits, gave the project five Academy Award nominations and with a reason.

Enter George Bailey – Bedford Falls’s most altruistic and kind-hearted resident. His only dream is to see the world, explore everything life has to offer outside the boundaries of New York. Every time a door seems to open and give him a glimpse of those desires, someone runs by slam it shut. Instead of leaving for South America before college, George stays behind to run the family business after his father’s sudden death. The boy manages to save up for tuition fees once more, but ends up giving the money away so that younger brother Harry could receive an education instead. He protects and helps Bedford Falls’s people agains the overhanging tyranny of loan shark – Henry Potter, whose cruel intentions benefit no one, but his egocentric self. However, things are looking up when George marries the love of his life – Mary, a girl he’s known since childhood. They create a family and nestle down in an old house. Years go by and children start spurting, four to be exact, their affordable housing business seems to be thriving better than ever, life is looking up. In the peak of his happiness, a disaster comes to tear the joy apart. George is painfully used to being ripped off in one way or another, he rolls with the punches and tries to keep walking. However, that night is particularly daunting, leaving him in a desperate and suicidal track. George decides to jump off a near-by bridge and end the hurt for ever. Little does he know, Clarence the angel is watching over him that night. An angel who will make a single wish come true – let George see the world as it would have been if the man had never been born. A picture of decay and misery unfolds, playing out every worst scenario the town could have imagined. George learns just how important his kindness was to everyone around and releases the tunnel vision of success for the bigger picture of humanity. Upon realising life is an amazing gift, which should never be wasted on cruelty and disregard, he begins being Clarence for a chance to go back. Once more hug from his children, one more kiss from his wife, a chance to apologise and re-estimate his values, that’s George’s biggest Christmas desire. Moreover, surprises come stacking when the man returns home, and the puzzle pieces finally fit together, because life is truly an amazing treasure.

Take this as a promise from me – this film will melt your heart. The phrase “they don’t make them like they used to” is in full effect here, proving that old pictures have a quality about them that a blockbuster just cannot replace. Its script, written by Frances Goodrich and Albert Hackett is romantic, funny, happy, exhilarating and painfully honest about pain and struggles. The dialogue flows like a river, turbulent with snappy George’s humour and rhetoric, yet calm with its authenticity. It manages to touch big themes will small sentences. “What is it you want, Mary? What do you want? You want the moon? Just say the word and I’ll throw a lasso around it and pull it down. Hey, that’s a pretty good idea. I’ll give you the moon, Mary,” George said on his first date with future wife Mary. Infinitely beautiful their lines are to listen and see, about that there is not a single doubt inside my mind.

James Stewart is a name that should be a part of your film repository. An actor, father, war hero and generally kind human being, Stewart could not have been a better fit for the role of George Bailey had he consciously tried to be. He is absolutely extraordinary, quiet, but understood, funny, yet truthful and serious. Nothing more could I have asked from his character or portrayal, because Stewart masters both to perfection. His blue eyes stare at you through the black and white picture, digging holes inside your soul only to bury a seed of subtle positivity and joy.

Henry Travers is in the role of Clarence, who we only get to see for half the movie. In that time, however, he manages to become irreplaceable as a plot point and influence, creating an unshakable staple of the timeless tale. The angel who wants to get his wings and gives a small-town man a second chance at life, is the sidekick every person needs. Another supporting role goes to Donna Reed, who encapsulated George’s intelligent, funny and supporting wife Mary. The two’s connection shakes the ground with forceful tremors, leaving its audience wishing they had a romance of such proportions. From that first date, to their embrace over the phone and calm marriage that followed, a picture of an ideal is painted. Although critics gave Capra a hard time about his characters’ unrealistic idealism, they later re-visited that opinion, which was inevitable. It’s a chemistry and a love story, which surpass superficial expectations.

The theme of suicide is explored in one of the film’s culminations, which leaves spectators on the edge of their seat. George is someone we have created a relationship with and having to see him pushed to the limits of disappointment hits us just as hard. Capra does not simply gloss past the issue, dwelling into it through Clarence and George’s conversations. That’s partially what makes the recovery so powerful. We’ve seen the lows, we’ve hit rock bottom, so having a kick start back into happiness in its purest form feels exhilarating.

If you hadn’t figure it out by now, “It’s A Wonderful Life” could very well be one of my favourite films, period. It holds quality, which we rarely get to see in mass cinema nowadays, its cast is more than perfect for the complex set of characters we explore, and the rollercoaster of emotions leaves us gasping with overwhelming joy. There is nothing more that I could wish for in a perfect Christmas film. This is everything and more.

Now, have yourselves a very merry Christmas!

Thank you for following my blog this past year and hopefully I can continue to entertain you throughout the next one!

Stay amazing!

Megs X

Christmas Film Reviews: “The Polar Express”

The Conductor is Tom Hanks, the Father is Tom Hanks, even the Hobo is Tom Hanks. Everyone is Tom Hanks in this Robert Zemeckis production, but I’m not even a single neurone mad about it. If there could be one voice to narrate my Christmas eve, besides Jim Carrey and James Stewart, it would most definitely be his.

Upon the strike of midnight on the fateful Noel day, a magical late train circulates Earth. Its Conductor wiggles a moustache over a list of children, who weren’t particularly naughty or nice, but share a trait in common – their dying belief in the spirit of Christmas and Santa Clause himself. The Polar Express is a last chance to entrust them with a sprinkle of life’s secret greatness. Our heroic boy remains nameless, although we still share a seat in his journey to enchantment. Through walking atop the mystery train, to playing with ghosts, seeing elves and keeping the Conductor’s strict timetable, not a second of our night remains stationery. The children’s final destination – the North Pole, where St. Nicholas is preparing for yet another trip around the world. All of their dreams are about to be resurrected, sparking the fire of Christmas once more.

The themes of slipping childhood are highly explored in festive films as an inevitable part of life. Zemeckis manages to portray that experience fully through Hero Boy’s hesitation to trust his new adventure. Lonely Boy, which we meet deeper into the story, almost misses the Polar Express entirely because of mistrust and uncertainty. The realisation that perhaps none of our fantasies are true is a point in time we can relate to, which is what makes the motif so special. It makes identification with the children a lot more natural and entrances us into their story.

There’s not much to say about Tom Hanks’s voice work that you wouldn’t already know. The most famous piece of animation in his repertoire is “Toy Story”‘s character Woody, who kids like me grew up with. The A-lister’s reputation as a generous and kind man brings its energy into the picture, underlining an already clever Conductor with further qualities. This makes for a well-rounded and believable supporting crew that cures Hero Boy’s desperation.

Hero Girl, Lonely Boy and Know-it-All are (to my interpretation) the voices Hero Boy has to battle with while growing up. Hero Girl is his positivity and playfulness, Lonely Boy is the absence of hope and Know-it-All is a desire to think logically and factually. Becoming an adult means they begin to contradict instead of correlate – a struggle our protagonist is pushing through. In the resolution we see these voices become one again – full of Christmas jolliness and cheer instead of unsureness.

My verdict is this – “Polar Express” is the smooth peanut butter on a breakfast piece of toast, the drop of milk in a bitter tea. Although its majority revolves around grittier subject matter, whether we realise it or not, the running theme is a blossoming inspiration. Magic is real and it’s all around us, we can’t forget that around Christmas time.

 

 

Christmas Film Reviews: “Scrooged”

Well, folks, reporting from the gateway to my Christmas countdown, I must admit excitements are high this morning. If we were a Dr. Seuss story, my writing desk would be covered in a thin layer of frost right about now. The coffee would be comically frozen on its very edge and I’d be sporting horizontal pig tails. However, luckily most of us are having a jolly, old time next to the fire on boring planet Earth. Sit tight with your gingerbread latte and let the magical words of wisdom carry you to the land of film. As promised, the kick start to all twelve reviews is going to be an all-time classic retelling of Charles Dicken’s “A Christmas Carol”.

“Scrooged” follows the skeletal structure of the tale you know and love, but wraps it masterfully with an eighties layer of hairspray and glitter. Starring the unmissable Bill Murray, a comedy legend of the modern day, and directed by Richard Donner, a.k.a. that dude who brought us “The Goonies” and a bunch of Superman flicks you’re probably too young to have seen, I would personally classify this film as a national treasure.

The humbug is back, only this time not as a slouched, old man, but rather young and reputable Frank Cross, the sole director of an influential television studio. His unsympathetic and heartless way with others quickly becomes evident, largely through the relationship he holds with personal assistant Grace.  On the verge of Christmas Eve, a golfing pal from the past comes back for a tall glass brandi and an eerie warning of trouble. I find it necessary to mention said buddy is long deceased and fashions a cute, white mouse in the crevice of his skull. He speaks of visitors who are to change Frank’s sculpted and selfish attitude to life. That night marks the beginning of a spiritual journey through time and space, which shakes the producer’s hard-earned beliefs and position. We embark on an adventure along the poor and wealthy New York City, where festivities are in the heat of the Christmas season. First comes a mysterious slash reckless taxi driver, who is in desperate need of a Colgate intervention. Second, we’re met with a crazed, quirky fairy whose voice rings higher than Santa’s signature sleigh bells. Do enjoy her healthy dose of slaps and tugs, however, as those made me laugh the hardest. Third and last we encounter Death, who points with bony fingers towards the forlorn consequences of an egocentric existence. A grim picture indeed, full of loneliness and tears.

Murray is superb in the role of a cold scrooge. It directly juxtaposes his portrayal of Venkman – ghost busting professional and sarcasm extraordinaire, which warmed spirits a mere four years before this picture’s release. His dry humour sticks to your teeth like grandma’s moist fruit cake, and his hair forces you into a cringe fit every time it’s fully framed. But you know what, we enjoy every living second of it, sheerly out of appreciation for the art of old humour. Lord knows comedy has evolved a lot throughout the years from snappy, relevant, well-written comebacks to Adam Sandler’s purely magical fart noises. Frank becomes a well-rounded character we comfortably distaste and later admittedly care for, blurring mistakes of the past through fresh, Christmas hope.

Claire, played by Karen Allen, is his festive counterpart and long-time romantic interest. She volunteers at a homeless shelter and enjoys hobbies such as bringing soup, hitting people with convenience shop doors and appearing in places really, really fast. Needless to say, the two belong with each other despite their vast, almost unbridgeable differences. However much it pains me to say this – Bill and Karen have close to no chemistry and the entire affair falls somewhat flat. The hard-drilled idea of their love from the original roman resurrects the efforts partially, but not fulfillingly.

Alfre Woodard, who you might know from the controversial programme “True Blood”, is clever and quick-witted personal assistant Grace. Her financially unstable family is a lovable bunch of jolly kids and a young outcast, who holds a heavy personal story. They are a ‘modern’ equivalent of the Cratchit household, which manages to trigger Frank’s deeply buried sympathy. A performance convincingly divided in equal parts hopefulness and despair, truly balanced between the gloomy past and the opportunity of a brighter future.Alfre creates the significance behind her kin’s crossroads in a manner that leaves us no choice, but to care.

All in all, here’s the verdict – a cult Christmas classic, which supports the original themes and characters of “A Christmas Carol” whilst modernising them in a believable way. The words Bill Murray, eighties and sarcasm should drive you to the sofa by themselves. However, if you need a gentle nudge, I guarantee a rollercoaster of laughter, sorrow, astonishment and disgust all in the frame of one-hundred and four minutes. As far as festive film lists go, this is a must-watch.

Now sit back with a bowl of marshmallows and enjoy!

Stay awesome!

Megs x