Mainlining Christmas

Often regarded as one of the worst, if not the worst, American sitcoms in history, My Mother the Car ran for thirty episodes between 1965 and 1966. The premise of the show is that the main character, David Crabtree (played by Jerry Van Dyke, the younger brother of Dick Van Dyke), discovers his dead mother has been reincarnated in the form of a 1928 Porter who talks to him through the radio when no one else is around. I should add this was written and produced by some of the greatest legends in television history - Allan Burns and Chris Hayward created the show, and James L. Brooks wrote for it. As explained by Burns in this clip , the series was envisioned as a satire of the sub-genre of '60s sitcoms built around an absurd fantasy gimmick (think Mister Ed or Bewitched), but something went wrong and the satirical elements were lost in production. In that interview, Burns blames it on the show becoming too cute, but I think the issue was intrinsic to the premise. The shows they were ...

While it's admittedly 1939's second-best Christmas movie about a woman down on her luck finding an abandoned baby that winds up changing her life for the better, Miracle on Main Street is still a solid, albeit weird, little film with notably progressive undertones. Moreover, those undertones are different than the likewise progressive ideas expressed in Bachelor Mother , the other film with that premise released the same year. But then there's actually a great deal separating them, starting with genre. Miracle on Main Street is a drama, a fact that does hinder its longevity - I'm finding comedies I'm seeing from the 1930s generally hold up, while dramas tend to feel dated. This stars an actress simply billed as "Margo," (her birth name was María Marguerita Guadalupe Teresa Estela Bolado Castilla y O'Donnell, so I can understand wanting to simplify it for film) who's pretty interesting herself. Born in Mexico, she moved to the US and worked began a ...

This movie should be much better known. Repeat Performance is a holiday fantasy/noir from 1947 about a woman who just killed her husband in self-defense at midnight on New Year's, wishes to relive the past year to change her destiny, and finds her wish is granted by the magic of the season only to learn that while the paths of fate can be traversed differently, the destination will always be the same. I don't feel too bad spoiling this, because the movie kicks off with Twilight Zone-esque narration that more or less spells all this out. So, this is basically a post-war fatalism entry for the holidays. Again, why in hell am I only just hearing about this now?!!! Okay, I can probably shed a little light on that now. First, if you're not thinking about the thematic and historical significance the holidays lend the movie, it's easy to gloss over them, as well as how much of the movie is actually set during the season. Second, the movie has some pacing issues: it drags a bit...

Christmas Holiday William Somerset Maugham, 1939 I had been reading a number of brand new holiday books that feel as though the authors hope they'll be turned into movies, so I felt like switching gears to try a much older book that was actually adapted for film. If you read our review of the movie , you may remember that Erin mentioned that a lot of aspects were changed in the adaptation. The largest is that in the movie, the main female character gets the most emotional development, and her story, told mostly in flashback to the ostensible point-of-view lead, gets the most screen time.  The novel, on the other hand, actually has a main character. Charley Mason is not an American GI with anger issues, but a British dilettante. His wealthy parents have pretensions of being knowledgeable about art, and at one time he wanted to be an artist himself. At the time of the novel, he's been talked out of that, and instead, he has been preparing to take over his father's safe, sensi...

On its most basic level, Cobra is an R-rated '80s action movie written by and starring Sylvester Stallone, but that doesn't begin to describe what makes it unusual or (with apologies for jumping right to the punchline) awful. Because at the end of the day, Cobra is bad, despite some impressive stunts and a genuine attempt to make something interesting. Let's back up. For a while, Stallone was looking to play Axel Foley in Beverly Hills Cop, a role that would eventually go to Eddie Murphy. Stallone, of course, had a very different vision for that movie's tone, which (coupled with the budget his vision would require) seems to be the main reason that version ultimately fell through. I have no idea if he perceived Cobra as some sort of proof of concept, or if he just had a bunch of ideas floating around his head as a result of working on the other project. Regardless, he pulled his ideas together, combined them with ideas borrowed from a novel called Fair Game (which the cr...

This noir film directed by Robert Siodmak stars Deanna Durbin, Dean Harens, and a relatively young Gene Kelly, which may be enough to pique some of your curiosity. Know the movie is extremely weird, with a plot that takes a while to establish what the story's going to be. That said, it's beautifully shot, with some impressive crane sequences, loads of shadows, and an appropriately dark story. This one's definitely not on the "feel good" end of the Christmas movie spectrum. It's worth noting this was loosely based on a novel, though there were some significant changes made to update the characters for an American audience and to avoid running afoul of censors. So a Russian prostitute is now a singer from Vermont, and the British POV character is transformed into an American soldier. The movie starts with the soldier, Charlie (Dean Harens), who's excited to be going on holiday, because he has plans to return to San Francisco and marry his fiancé. Only things...

I somewhat jokingly referred to this as the anti-Love Actually after watching it, and think that would probably be a good selling line to convince American audiences to give this French dramedy a shot. In a sense, that seems accurate - like Love Actually, this follows an ensemble of characters navigating a web of relationships and emotions, but the movie is unambiguous in its assessment of long-term monogamy. Virtually every character over the age of eighteen has been unfaithful to a partner; quite literally, every romantic relationship in the film has an expiration date. However, I now think my immediate reaction was incorrect. Despite La Bûche's pessimistic view of coupling - the movie ultimately embraces love in all its forms and does so enthusiastically. In this sense, it might be better described as a companion to Love Actually (albeit one likely to please that movie's detractors). Regardless, La Bûche is either the most cynically sweet or sweetly cynical Christmas movie I...