When Santa sits back in his North Pole office and tallies up the boy and girl balance sheet every year, one wonders what exactly he uses as a means of measurement. It used to be that obeying one’s parents, doing well in school, and avoiding the pitfalls and problems of growing up were the essential benchmarks for a ranking of “good”, while putting a tack on teacher’s chair, pouring ink on Mommy’s rug and filling the sugar bowl with ants warranted a score of “bad” and a mandatory gift of furnace fuel, aka coal. But now, in a world that excuses almost any behavior as part of the maturation process, it must be impossible to differentiate between disobedient and merely misunderstood.
The same thing applies to seasonal films. For everyone who wants nothing but visions of sugarplums and candy cane wishes, there are people who prefer their season’s greetings more mocking and satiric. Then there are a chosen few who can effortlessly manage between the two ideals, easily enjoying both the joyful and the jaundiced. Therefore, SE&L will separate its list of the best Christmas/holiday films of all time into two categories – naughty and nice. It’s the only way to cover all the jingle bell basics and make sure that everyone’s Yule is as cool as possible. While far from definitive, the undeniable delights of the divergent films featured guarantee no cinematic coal in any film fans stocking.
Forget all the ridiculous remakes and stick with the sparkling and effervescent original. This terrific take on the commercialization of the season never fails to bring a smile to even the most mean, miserable face. Featuring Edmund Gwenn in a role that would redefine the personification of Santa for decades to come, this masterful little fable about belief and hope is a breathtaking combination of cynical and magical – the perfect combination of Christmas then and now.
Asking the disturbing question of how society would react to someone taking the role of Santa seriously, Lewis Jackson’s amazing motion picture assessment of one man’s descent into Kringle craziness remains a forgotten mistletoed masterpiece. In the lead role, Brandon Maggart spends his days in a toy factory, his nights making lists of the local school children. But when he finally ventures out on Christmas Eve, his moralistic intentions become confused, creating a memorable spree of Yuletide terror.
Few remember that Bob Clark’s now traditional cinematic treat was an unfettered flop when it first hit theaters in November of 1983. Apparently, audiences weren’t quite prepared to experience the knowing nostalgia of holidays circa the pre-War era. It took home video, and dozens of showings on Turner stations like TBS, to transform this clever comic take on holidays past into a timeless seasonal celebration. Now, devotees wouldn’t be caught dead missing a single moment of this festive familial farce.
Bob Clark again, this time utilizing the holiday season for his inventive twist on the slasher film. Without the strict cinematic mandates that the genre would require throughout the late ’70s and early ’80s, Clark created the first subversive slice and dice, providing little explanation for the sorority attacks, and no actual resolution. With a narrative featuring eerie phone calls from a horrifying killer named Billy, this film is a perfect antidote for all the tinsel and treacle.
Charles Dickens’ A Christmas Carol has long been considered a Saturnalia standard. But of all the versions of his venerable Victorian allegory, this 1970 musical version starring Albert Finney is the most magical. Using an Oliver-esque approach to its recreation of London (read: grimy and grim) and amplifying the story’s supernatural elements, director Ronald Neame and composer Leslie Bricusse deliver a wonderfully winning effort, truer to the literary classic than any other adaptation out there.
Stealing the stop motion animation crown from those loveable TV titans Rankin and Bass, Burton scripted a timeless treasure that suits both Santa and Satan quite well. As poor misguided Jack Skellington, the King of Halloweentown, tries to unravel the secrets of Christmas’ festive feeling of fun, we are treated to a world loaded with artistic marvels and inventive iconography. Perfectly suited for October or December, this is one flight of fancy that grows more and more magical, year after year.
Some still find this first experiment in CGI rotoscoping to be a little disconcerting – the humans do appear rather stiff and disturbing in their zombie like blankness – but no one can fault Robert Zemeckis’ Christmas Card come to life look for the film. Thanks to the 3D imagery, this movie comes alive with startling seasonal symbols and moments of sheer cinematic bliss. Like most holiday treasures, its thrills are as universal as a smile and as special as the time of year.
Another forgotten masterwork, this time centering on an overweight lonely heart that’s invited to a Christmas celebration by a red hot honey he meets at a ski resort. Oh course, she and her family are cannibals, cruising the country for fatted ‘calves’ to clean and dress for their own festive flesh feast. Starring voice-over artist Joe Alasky as the blimp, and Donna Dixon as the blonde with an eye for prime man meat, this quirky black comedy delivers nonstop laughs.
Like A Christmas Story, Frank Capra’s look at the fragility of the American dream was more or less ignored by late ’40s audiences. But once TV took up its cause, and a lapsed copyright allowed unlimited home video releases, the once overlooked gem became a true seasonal standard. Featuring fine turns by Jimmy Stewart, Donna Reed and Lionel Barrymore, what some found almost anti-American 60 years ago is now viewed as the perfect piece of old school Hollywood craftsmanship.
Nothing illustrates our post-modern mindset toward the holidays better than this crude family film about a drunk and debaucherous Santa who uses his department store position as a means of casing joints for his annual Xmas eve robberies. Unfortunately, a chubby little gingersnap known only as “The Kid” throws our Kris Kringle crook for a loop. The result is both hilarious and heartwarming, with just enough scatology thrown in to keep the Noel nasty.