Christmas in July
Snarky critiques of the American success story – a myth so painfully central to the national psyche – are few and far between now and they are certainly hard to imagine coming out of 1940, a time when a nation shell-shocked by the Depression still had fresh memories of being sedated by Busby Berkeley musical fantasies and stylish gangster wish fulfillment crime dramas. But writer/director Preston Sturges was too funny, clever, and probably a bit East Coast elitist to let such a sacred cow of our national mythology go unskewered.
Sometimes I think Sturges is a bit too clever for my taste. With many of his movies there is the unsavory sensation of an author laughing at his own jokes too loudly. Some of them, such as The Palm Beach Story, seem less hilarious than just smug - too many playboys in tuxedos shouting, old mustachioed men harrumping, and women in gowns winking. But Christmas in July – with its ridiculous brevity (it’s only 68 minutes long) – is a short, sharp, shock of hilarity. Really, it is. Dick Powell plays a frustrated accountant who anxiously wants to be a success in life. Though he was known first as an awe-shucks sort of song-and-dance man from various Berkeley musicals, Powell was later often cast as a cynical anti-hero in many detective roles. In this film we get a little of that coolness from his slightly sarcastic tone and weary demeanor.Continue Reading
It’s A Wonderful Life
Somehow I never got hip to It’s A Wonderful Life until more recent years. Though it’s been a Christmas season staple ever since the 1970s when its copyright fell into the public domain, it managed to elude me my entire childhood. I think I may have blown it off as corny or lightweight, but I couldn’t have been more wrong. It’s A Wonderful Life, besides being incredibly moving, has themes that still pack a wallop.
On first viewing it may take some nudging to get past the set up concerning stars talking and angels and what not. The Our Town piece of Americana, its lovable small town, seems overly clichÃ©d at first glance until you realize this is the movie that invented it. There is a reason these ideas are now called "Capraesque." This and other films (Mr. Smith Goes To Washington, Meet John Doe, etc.) established director Frank Capra and his wholesome characters whose decent values can take on the world as a style all its own. And then the great Jimmy Stewart enters the picture and anchors it with an epic performance.Continue Reading