Mainlining Christmas

The Preacher's Wife has been on our watch list for years, but it's one of those movies that never seems to land on streaming services, or at least not ones we're subscribed to. Eventually I broke down and ordered a DVD, which then sat in a pile beside my TV for months. There it remained until someone commented on our 10 year old review of The Bishop's Wife  politely calling us out for not getting to the remake. Guess what we watched that night.  My first observation watching it was that I was going to need to rewatch the original if I wanted to have anything more substantive to say than, "yeah, this one's really good, too." Fortunately, the 1947 film is a lot easier to watch online than the remake, which is why you're getting a hybrid article covering both versions. Looking at them together has the unusual effect of making both seem even better. The films start with the same underlying premise but approach it in such radically different ways they feel ...

Penny Serenade is one of those movies that eases into revealing its holiday credentials. I spent most of the first half thinking I'd been misled by whatever Christmas movie list I saw this on, but - sure enough - by the end I was convinced. More than that, the nature of its structure makes it particularly interesting to examine as a Christmas movie. As usual, I'm getting ahead of myself. Let's backup and get some context. If Penny Serenade were released now, it would probably be considered a dramedy, as it pointedly contains both tragedy and humor and its tone tends to revert to a midpoint between those extremes. It's mostly notable for being the first film to earn Cary Grant an Oscar nomination, though if you ask me, his costar, Irene Dunne, is the real MVP here. Don't get me wrong: Grant's great too, but I found Dunne's performance more believable and sympathetic (to be fair, the writing around her character also ages better, as we'll discuss in more d...

Alias Boston Blackie is the third installment of a fourteen film series (plus a radio show spin-off) based on a character serialized for magazines who'd previously been adapted into silent films prior to Columbia Pictures's relaunch in the '40s starring Chester Morris. Kind of makes you wonder how long it's going to take for the name, "James Bond," to elicit the same blank stare "Boston Blackie" does now. Or maybe you're better versed in early 20th century crime fiction than I am. Blackie started out a character in crime fiction, assuming Wikipedia can be trusted (I sure as hell don't have the time to track down and read a bunch of 100 year old stories to confirm that). By the time he made his way to Columbia, the character had been reformed, presumably to keep him on the good side of the Hays Code, which was pretty strict about active criminals being punished for their deeds before the end credits rolled. Put a pin in this, though - I was pl...

Depending on how you want to define your terms, Destination Tokyo might be the earliest Christmas war movie, though this is absolutely one of those times the qualifiers have qualifiers. The 1927 silent film, Barbed Wire , at the very least includes a memorable Christmas sequence which thematically shapes the movie around it. Likewise, the 1936 science-fiction film, Things to Come , opens at Christmas and plays with the tonal dissonance between the holidays and war (something Destination Tokyo largely sidesteps). Neither of these feature the holidays centrally enough to unequivocally be considered Christmas movies, though I'd argue both are at least debatable. The 1939 animated short,  Peace on Earth , is a more clearcut case - this is absolutely a Christmas war story, though its brief runtime might disqualify it as a movie if the difference between "short" and "feature-length" matters to you. Destination Tokyo comes closer to a clear-cut case, but even this has ...

The Cheaters is the one of two movies featured in the revised edition of Jeremy Arnold's book, Christmas in the Movies, that I'd never seen, so I figured I'd better rectify the oversight. While I wasn't as smitten with the film as Arnold, there's no denying it's charming, largely thanks to the performances of Joseph Schildkraut (who also appears in the more famous The Shop Around the Corner), Billie Burke (Glinda, from The Wizard of Oz), and Eugene Pallette. That said, "charming" isn't the same as "satisfying." Palette plays James Pigeon, an upper-class businessman confronting money troubles who's just learned a distant relative has passed away about a week before Christmas. Said relative has left his sizable estate to an actress who he doesn't even know (he was a friend of the girl's mother). If said actress isn't identified within a week, the fortune will instead go to James. In an attempt to ensure this occurs, the fami...

I'm going to cut right to the spoiler warning, because Cover Up is a delightful Christmas mystery that fans of noir (and the era in general) deserve to experience without having the story, ending, or even tone spoiled. It's the sort of movie that leaves me confused as to why it's not already considered a classic. That's not to say it's perfect - aspects of the last act are a bit underwhelming - but it's extremely good, compelling, and unlike any other film from the era I've come across. And, like any good mystery, it's better seen without being familiar with the synopsis. You've been warned. For those left, in the first paragraph I recommended this for fans of noir, but I didn't outright identify it as such. Others have, and it certainly bears hallmarks of the pseudo-genre: black and white cinematography, heavy use of shadow, expressionist elements... you know the drill. But ultimately the film almost feels like an anti-noir, leaning more towards...

The 1944 noir film, The Suspect, certainly doesn't qualify as a Christmas movie under any definition I use, and I doubt you'll find many people who've seen it and disagree. That said, a short but pivotal scene is set during the holidays, which are utilized in a manner that's both unusual and interesting enough to warrant discussion here. In addition, the movie as a whole is fairly interesting, so I don't mind giving it a bit of exposure. The film stars Charles Laughton, who's perhaps now best known for his sole directing credit, The Night of the Hunter, a 1955 film with similarly dubious yuletide credentials (though that's often counted as a Christmas movie for thematic reasons). While The Night of the Hunter is now (rightly) regarded as a classic, it was considered a failure at the time, which is why it's Laughton's only credited turn as a movie director. He was, however, considered a fantastic actor (also rightly). The Suspect is set in 1902 London...

They Live by Night is one of several crime noir films Criterion is streaming this year for the holidays. It tells the story of young lovers on the run from the law. I was on the fence about writing this up. Because the movie's timeline is fairly nebulous, it's not at all clear what portion is set around Christmas. A fourteen or fifteen-minute section starting just after the middle definitely is and you could interpret the entirety of what comes before as being in December, but you could just as easily assume the earlier scenes are in October or November. It just isn't clear. The tie-breaker, of course, came down to some thematic connections, but even these aren't clear-cut. More on all that later. The main characters are Bowie (played by Farley Granger) and Keechie (Cathy O'Donnell). Bowie just broke out of prison with the help of two older criminals, T-Dub and Chicamaw. They're staying at a service station run by Keechie's father, who's assisting them i...

I assume this is obvious to everyone subscribed to Criterion right now, but I'm finding a bunch of these thanks to a collection they dropped entitled Holiday Noir, which - to be clear - is pretty high on my list of "things in 2023 to be grateful for." I bring that up mainly because I think this movie's inclusion in that collection is a bit of a stretch, not because of its holiday content (this is very much a Christmas movie) - but rather because I certainly wouldn't classify it as "noir." It's admittedly a fuzzy term (even more so than most movie genres), but I tend to look for movies with pervasively dark tones that typically set out to leave you less optimistic about the world than when you started, movies where even victories feel like defeats and true happy endings are a virtual impossibility. And that just doesn't describe "I Wouldn't Be In Your Shoes," which I'd consider more akin to your run-of-the-mill drama. There's...