Christmas Films I Love

December, all the decorations are out, there are lights in the streets, and there’s actually snow in London. During the holiday when I’m home I love to just sit back with some snacks, a nice beverage, in a warm living room with the snow falling just outside and watch a nice Christmas themed film or something I just watch each year because of tradition. So in this holiday spirit, I’d like to talk about some of my favorite films that I watch every Christmas. There are obviously a lot of other great Christmas classics, but these are the one's I've made a habit of watching

Mickey’s Christmas Carol
















A surprisingly faithful adaptation of the classic Charles Dickens story. I’ve seen several iterations, but I must say that this one is my favorite. There are of course other really good adaptations, I personally have a weakness for the Muppet’s Christmas Carol, but the Disney version is perfect to watch on Christmas morning, I’ve watched it every Christmas my whole life. Running at about half an hour, you would think the story rather shallow, but it works really well, and manages to complete Scrooge’s story arc very effectively. The short is also beautifully animated, and it has a wonderful soundtrack and performances, particularly from the excellent Alan Young who does a great job as Scrooge.


It’s a Wonderful Life

















I’ve made it a fairly new tradition to watch this every Christmas, but it is certainly a great Christmas film, really putting me in a happy mood. With a fantastic performance from James Steward and tight directing from Frank Capra, It’s a Wonderful Life is one of the all time Hollywood classics, and a film that is really worth watching again and again.


Gremlins














A somewhat more archaic holiday film, Gremlins is still packed with Christmas atmosphere and spirit, even if a whole town has to be blown to pieces to prove a point. While quite a crazy movie, it still has a lot of heart, mixed with great comedy and some fantastic gremlin ass-kicking. It might not be the standard classical fare, but there’s loads of entertainment here that will keep your mood right up during the holiday season.


The Nightmare before Christmas













A film that works both for Halloween and Christmas, the Nightmare before Christmas is a great animated musical that is just a bunch of fun. Jack Skellington has to learn the value of Christmas, but not before scaring the living daylight of every little boy and girl. The film is beautiful visually and has loads of great songs and performances that make it the holiday classic that it is.


Miracle on 34th Street












I’m talking about the 1947 original, not the 90s remake. Anyway, this is a great Christmas film, about a man who says he’s Santa Claus, and of course no one believes him. The issue is never really resolved, but rather remains ambiguous, and lets the audience themselves decide what they want to believe. A heartwarming film that doesn’t become sickly because of it and a great film to watch for Christmas.


Home Alone














Ok, I admit this is just down to pure nostalgia, but at the core of its head bashing there’s some real Christmas spirit and heart to this film. I do find it a bit harder to watch as I get older though, but sometimes the nostalgia just wins, and this is one of those cases.


Die Hard














I always watch Die Hard sometime during Christmas. It’s not strictly a Christmas movie, but it does take place during Christmas so what the hell. There’s not really much else to say about it, other than that it’s the greatest and most ass-kicking action film of all times. And it works for Christmas. Perfect!




I also enjoyed a lot of other shorts during Christmas, by favorite being Pluto’s Christmas and Santa’s Workshop, so here I present links to those excellent shorts that I watch every Christmas, hopefully you’ll enjoy them too.

Pluto's Christmas

Santa's Workshop

The Night Before Christmas

Mickey's Christmas Carol Part I
Part II
Part III

Happy Holidays!

The Great Moment (Preston Sturges, 1944)

The Great Moment was the last of the Preston Sturges Universal run, and it was the film that managed to sink his career when he was on a high. There were fights with the studio, the film was shelved for quite a while, and it ruined Sturges reputation. It’s very sad, but also easy to see why, as the film is really poor, especially compared to his previous outings. It has much of the cast that Sturges used, but the film itself is structured very poorly and the story is mediocre, despite having some potential. The acting is from ok to just bad, and the characterization is poor.

The story is based on the real story of a dentist who discovers and invents anesthesia, but suffers because of it. It’s an interesting premise, where the dentist, Morton, is in some quarters lauded and praised for his discovery, while others criticize and ridicule him, either because they are jealous or because they somehow took part in the discovery and want to be part of the claim. In the end it ends very badly for Morton, as he loses everything. I shouldn’t say “by the end”, because this is how the film starts, showing us the fall from grace that he suffered, before flashing back in time to show how this came to be in the first place. The problem is that the story is told in a very tedious way, it’s actually very boring. A lot of the drama falls flat because of Joel McCrea, who while suited for Sturges comedy, doesn’t really work here. Sturges doesn’t handle the dramatics as well as one would think he could, and the structure of the film seems very muddled. Actually it’s almost ironic considering the premonition Sturges himself made in Sullivan’s Travels. Apparently this film was going to be his greatest, but it turned out so badly. One could say that the studio destroyed something as well, but there are little signs in this film of any real potential. As I said, the story has some potential but the execution is very bad.

Another problem with this “drama” is that there are indeed some comedic moments, but they really and truly fall flat and are unfunny. Because of the tone and the style of the film, the comedic just seems silly, particularly one painful slap-stick moment which is completely out of sync with the rest of the film. It seems that Sturges could make comedies with drama, but not dramas with comedy. The character progression is very sub-par compared to how Sturges works his characters in his other films, and overall I felt the film lacked the Sturges “touch”. The film is one very few would watch if it wasn’t for the fact that it was made by Sturges. The only real significance the film has is as some sort of historic document. Anyone interested in Sturges from a historical studies viewpoint should watch the film, as it is quite an astounding fall from grace. Other than being of historic interest, any regular viewer should avoid this film, and rather watch Sturges’ excellent comedy run for Universal, as these films offer so much more than The Great Moment.

The Great Moment isn’t completely BAD, it just is very mediocre. It has very little to offer in terms of comedy, drama, satire or entertainment. It’s sad that Sturges ended his Universal career like this, and while he made a few films afterwards, he never quite recovered from this bomb. Strange how a career can so quickly loop downwards.

Hail the Conquering Hero (Preston Sturges, 1944)

I think that perhaps Hail the Conquering Hero is Sturges’ funniest movie, at least of the ones that I’ve seen. It’s a brilliant exercise of panicky slap-stick comedy and stinging satire. Like all his films, it’s satirical about America, but this time it focuses on hero worshiping and the illusion of heroism, as a small town is caught in the rage of celebrating their local hero. It’s about being caught in madness and hype, something that is still relevant in today’s world.

Woodrow is our protagonist and he is depressed. He’s hanging out at bars and drinking because he can’t go back home. The reason for this is that a year ago he signed up to join the Marines, only to be rejected because he has hay fewer. His father was a Marine and killed in the war when Woodrow was just an infant, and he doesn’t dare return to the shame of not having lived up to his father’s memory, so he pretends that he did join the Marines and sends his mother letters where he lies about it. One night he meets up with a group of real Marines who have leave. However, they are all broke and don’t quite know what to do with their time. However one of them is fixated on mothers because he never had one, and is infuriated at Woodrow for not having gone back to his yet. So the Marines get an idea; how about lending Woodrow one of their uniforms and going back with him pretending he was in the war, but released because of an injury. Perfect! So they all take him back to his small hometown. This is of course against his own will, as Woodrow sees the many faults that this plan could have, but they drag him along anyway. This is one of the comedic highlights of the films, and Eddie Bracken is perfect as the mumbling and unwilling Woodrow, who is extremely upset about the situation and fears being found out. However they assure him that they will be as discreet as possible, and only visit his mother for a few days, then leave.

Of course, it doesn’t quite work out like that. One of the funniest scenes is when the train Woodrow and his Marine pals are approaching the station, and the whole town has turned up, with banners and four different bands nonetheless. Mass hysteria hits the town as they want to greet their homecoming hero, including the mayor being ready with a speech and the key to the city. Woodrow’s old flame is also there, although she is engaged to another man, as Woodrow in one of his letters lied about being in love with someone else, and urging her to move on. What makes this film so funny is the juxtaposition of Woodrow’s reluctance and fear with the hysteria of the townspeople, creating many great situations. It doesn’t get any better, as soon some serious political figures in the town start thinking that Woodrow with his “charisma” and “heroism” would make a great new major, as the election is just a few days away. And Woodrow just gets dragged in deeper and deeper. Having been made during the Second World War, Sturges is quite brave to hit this particular nerve for satire. It’s a testament to how independent and sharp Sturges had become, and the film captures the American idyllic hero worshiping at its worst, clearly unraveling how ridiculous this had become by that time. It poked fun at something very central, and I would imagine hadn’t it been for the excellent humor this film would have been seen in a much more critical and controversial light. But what’s great about Sturges’ comedy is that it doesn’t take away from the satire, but strongly adds to it.

Hail the Conquering Hero is a very, very funny film. It hits all the right notes and also works extremely well as a satire of Americana, which becomes even funnier and clearer today. It’s a testament to the strength of Sturges’ filmmaking that his films manage to stay so fresh and the issues they deal with are still relevant, even more so, today. But he captured a particular spirit of the time, and for that, we should hail him.

The Palm Beach Story (Preston Sturges, 1942)

Now here’s an interesting little film that Preston Sturges made. It’s a romantic comedy/screwball comedy, but in a very impressive way, as it almost works as a commentary on the genre, and it certainly shows the depth and talent of Sturges. In many ways I find it the most fascinating of Sturges’ films, although it’s not among his best, certainly not The Lady Eve and Sullivan’s Travels. Still, it’s an essential part of the Sturges canon, and a fascinating little film that should be studied.

The story is fairly simple: Gerry and Tom are married, but poor. Tom has a brilliant idea that could make him rich, but he needs a load of cash to get the project underway. So Gerry decides to divorce Tom so that she can marry a rich man and get him the money. It’s a fascinating idea where two people are getting divorced, not out of hate, but out of love. Of course Tom isn’t too thrilled about the idea and tries to stop her. Gerry figures out that she has to go to Palm Beach to get the divorce, so a sort of a chase is on. He says she can never get there without any money, but she thinks she can. There’s a great scene where she wants to get on a train to Palm Beach, and does so by flirting with the gatekeeper and some of the passengers, and gets her own room for the trip, while Tom gets chased out of the train station by the guards as she says he “wants to molest me”. Hilarious. While overall not Sturges’ funniest film, it does have one of the funniest moments in any Sturges film, although it is somewhat controversial, at least it seems so from the comments on IMDb. Gerry gets lodging with a bunch of rich gun & hunting enthusiasts, and during the evening when they are getting quite drunk, things get out of hand and they grab their guns and start shooting wildly; inside the carriage! Besides being truly funny, it’s also an interesting early criticism of the liberal gun laws in the US.

On the way to Palm Beach Gerry meets a shy millionaire, who of course falls in love with her. She takes advantage and accepts his proposal to stay with him for a while at his house in Palm Beach. But when they arrive there Tom has gotten ahead of her and is waiting, where she presents him as her brother. Another character who joins the fold is the “loose” Princess Centimillia, who immediately falls for Tom. She is played by Mary Astor, who is without a doubt the funniest person in the film, she is simply wonderful. It all opens up for a funny and interesting final act. One thing I should mention is that this film has one of the truly most bizarre endings I’ve ever seen. I won’t spoil the ending, but I will say that it’s connected to the equally bizarre opening, which at first seems to have little connection to the film itself. It’s one of the things that make the film really interesting. There are a lot of set pieces and characters that are hilarious in this movie that I haven’t mentioned yet, but it all goes to show how much Preston Sturges’ films have to offer. What he does so wonderfully with his central cast of characters that he uses over and over again is that he adds a lot of flavor to his films, every minor character has something funny to say or has some small quirk, and this is one of the things that make his films remarkable and funny. I will say that Joel McCrea is really underrated in Sturges’ films. He may not have the greatest dramatic range, but his dead pan seriousness is perfect for the kind of comedy that Sturges works with, and the two are a perfect match.

The Palm Beach Story is fascinating in its own rights, and truly an interesting and unique film in the works of Preston Sturges. I feel that even though all of Preston Sturges’ films have something in common, they all also have their own unique identities and themes that separate them. That’s what’s impressive about Sturges, is that although he has his own unique style, he also managed to make several interesting films without repeating the trick, and instead incorporated his style into several very different films, as well as use the cast over and over again without anyone seeming tired or boring.

Sullivan’s Travels (Preston Sturges, 1941)

Sullivan’s Travels is perhaps Sturges most accomplished film, it’s a meta-film like Sunset Boulevard but more like 8 ½. It’s also one of Sturges’ most engaging and funny films, with an excellent script and the wonderful cast that he used several times and of course the wonderful Veronica Lake. It is in a way strangely structured but it works really well for the overall theme and story of the film.

The story mirrors Preston Sturges own life. The story follows a very successful director who is tired of making comedy hits, and instead wants to make a film that is more important, that makes a grand statement about the human condition, and that can educated the public. His producers aren’t too happy about this and try to persuade him it’s a bad idea. They tell him that he can’t make such a film, because he doesn’t know what it’s like to be part of the downtrodden and poor, and he only knows his own life. The director, Sullivan, agrees with this and thus decides to go out and live like a hobo for as long as necessary, again infuriating his producers, but Sullivan now has his mind set on going. So begins Sullivan’s travels, where he dresses up like a hobo (or what he perceives to be a hobo) and tries to live with the poor. However it turns out to be more difficult than he imagined, as he always ends up back in Hollywood and back at his huge mansion. Early on he meets a failed actress at a diner, the character played by Veronica Lake, and his directorial senses kick in, as he sees something in her, while she just assumes he’s a hobo. However he can’t really hide who he is, and she soon finds out who he really is and decides to go on his little adventure along with him.

What follows is a series of events where the two set out, but eventually end up back in comfort each time, failing to in any significant way to learn to live like the poor. But Sullivan is set on his goal, and the two keep on trying. I won’t reveal anymore of the story, as there are some excellent twists and turns to come later. The film is hilarious, working with slap-stick, brilliant dialogue and situations. There’s particularly an early sequence where Sullivan tries to evade a trailer that is following him everywhere (on the studio’s orders), and what follows is a riotous chase scene, where the trailer takes some significant damage. The dialogue is extremely sharp and witty, perhaps not to the same level as The Lady Eve, but it’s still excellent, and very funny. Even the opening scene where Sullivan discusses his art with the two buffoon producers is an early indication of what we’re about to get. As a reflection on Sturges and Hollywood itself, the film works as a really neat look into Hollywood of the time, and also what Sturges felt Hollywood was all about and why he did what he did. More so than any of Sturges’ film, Sullivan’s Travels really showcased why Sturges was such a unique filmmaker of his time.

Sullivan’s Travels, along with The Lady Eve, is the very best of what Sturges oeuvre had to offer. In terms of structure and creating a Meta universe Sullivan’s Travels is easily Sturges most impressive and interesting. The character arc particularly is very fascinating and shows how the director comes to realize what his craft and art is all about, and I wonder if Sturges used this film himself as therapy to his own art.

Christmas in July (Preston Sturges, 1940)

Christmas in July is another Preston Sturges comedy which also at times poses as a drama. It’s again a simple but heart-warming story, filled with wit and satire. It’s probably one of Sturges’ simplest films, and thus probably one of his least impressive. Still, it’s a neat little film which is really worth watching.

Jimmy MacDonald is a simple worker, who has a wonderful girlfriend, but he doesn’t have too much money and he dreams of bigger things. There is a competition from a coffee corporation where the person who comes up with the best commercial slogan wins a cash price of $50 000. So of course he wants it badly. However, the jury is stuck on their decision, and the announcement of the winner is postponed. Meanwhile, some of his working chumps decide to play a trick on him. They write a letter saying he is the winner of the big cash price, and he is easily fooled by this. What ensues is a chaos of misunderstandings and dramatic irony. The comedy works superbly on many levels. Few people in the film except the audience know what is really going on, making most of the cast look quite foolish. But we also worry about the protagonist, seeing the inevitable crushing disappointment when he eventually finds out it was all a big joke. We feel bad for the protagonist when he thinks he has won a huge cash price and goes nuts, but at the same time we can’t help but laugh at the predicament.

The film is also satirical, poking fun at American hysteria of the time and the search for wealth that is so predominant in the American psyche. But there is also a strong ring of truth in the film, and all the characters seem like real people with real goals, and not just caricatures. In the film’s most hilarious moments they might seem like such, but in the end these are deeply true issues, at least for the times. There are fun moments such as when the protagonist and his girlfriend goes on a shopping spree with his new earned money, or the quarrels between the upper stairs coffee corporation bureaucrats. The film ends on a somewhat ambiguous note, where the film shows us that we shouldn’t get our hopes up too much, but at the same time there is hope. I guess the theme of the film is that you shouldn’t put your hopes too much on a lottery, but trust your own skills and instincts to make something of yourself. It’s not bleak, but more of a cautionary tale.

I enjoyed Christmas in July, it’s a funny film that can bring your spirit up without being a complete feel good happy sell out. At its core it’s a frightening realistic film with some harsh truths about the world, but most importantly, it’s a very funny comedy with some great performances.

The Great McGinty (Preston Sturges, 1940)

The Great McGinty was the first of a series of films written and directed by Preston Sturges for Universal. After having written several successful films, Sturges managed to convince the studio to let him be Writer/Director on his next picture, something almost unheard of during that time in Hollywood. Sturges great run of films for Universal only ran for about four year, but in that time he carved an excellent body of work for which he is still fondly remembered today. Sturges had a lot of control over his own projects, and was able to create his own storytelling technique and personal stamp. The Great McGinty was the first in these series of films.

The story concerns Dan McGinty, a tough bum who lives on the streets, with only his name and no money. The film covers an impressive amount of time, where McGinty rises from bum to the Governor of the state, grabbing opportunities that comes him by. The film is essentially a political satire and comedy, showing how much of the inner workings of politics work. McGinty is played by Brian Donlevy, who does an excellent job. At first he seems like a fairly one-sided character, but as the film progresses so does the protagonist, and by the end he is almost unrecognizable from the person he was in the beginning, it’s a great character arc. What the film and its director do very well is creating a very engaging story that develops efficiently, and a main character through his brutal honesty is very easy to root for. There’s also a love interest, of course, but it doesn’t start quite like that. Initially the two are married in a scam marriage so McGinty can portray himself as a family man to the public, but as the story progresses they both start to fall in love with each other, although McGinty struggles at first to realize this, as he has to soften his tough exterior.

While McGinty grabs every opportunity he gets, he is not in control. He answers to the local mob boss, simply referred to as The Boss. They’re relationship is interesting, as they both hate each other from start to finish, yet both need each other to succeed. It’s both a humorous and volatile relationship. McGinty doesn’t have any moral compass or fears doing anything that might be considered wrong, but throughout the film he starts to build up a conscience, with no little influence from his wife. As a politician he is very much a man who impresses with big projects, but doesn’t really care for “the little guy”. However he soon starts to see the errors of his ways. For a film that is less than 80 minutes, the film really has an epic time span and character arc that really convincingly transforms the character. It’s really fascinating to see the journey that McGinty goes through, and the film arrives at a satisfactory, although not particularly happy, ending. Sturges visual style is simple but effective, and it is impressive how quickly and effectively he manages to tell the story.

The Great McGinty is an excellent first effort from Sturges as a writer/director. The story is simple yet epic. The characters are interesting and the humor is spot on. It’s a great political satire akin to Mr. Smith goes to Washington, but with less sentimentality and more sting. It also boasts some of the ensemble cast that would become a standard fare in all of Preston Sturges films.