Jingle All the Way

There are movies you watch as a kid and just eat it up. You love it for all its fun and goofiness, not needing to analyze it or think about it too much. That's a job years later for Older You. It's that dreaded movie phenomenon, revisiting a movie you loved as a kid and seeing it through adult eyes. This week's entry, 1996's Jingle All the Way.

It's just a few days until Christmas and Howard Langston (Arnold Schwarzenegger) is in trouble. Running his own business, his home and family life has suffered, his son, Jamie (Jake Lloyd), especially upset because his Dad missed his latest karate performance. How to make up for this slight? Why with toys of course! Jamie wants nothing more than a Turbo Man action figure, the hottest toy around for this Christmas season. Howard thinks nothing of it, telling his son that he'll have one Christmas morning except there's a problem. He was supposed to pick one up weeks ago, and now on Christmas Eve, Turbo Man is sold out....well, everywhere. What to do? Howard hits the streets with no time to spare, vowing to Jamie and himself that he'll get a Turbo Man no matter what it takes. Can he somehow, some way find one though? He's got his work cut out for him.

I must have been a weird kid or something. Yeah, I knew that, nothing new there. While I love Christmas -- still do -- I must have been the right age at different points growing up because I never begged my parents for Tickle Me Elmo, Power Rangers, Ferbies, assorted video game systems for Christmas presents. Every year though the news reports about that one toy that every kid WANTS, NEEDS and SHOULD have. These new reports are typically followed by video clips of parents beating each other, arguing and fighting, stomping over each other to get to that last toy on the shelf. That's clearly what this 1990s comedy is having some fun with, poking and jabbing at how ridiculous Christmas can be. It's become too commercialized, and it gets a little worse with each passing holiday season.

Enough of that, let's move on. All those things about greed and capitalism and the commercialization of the Christmas season are one thing, but this isn't that smart, that deep a movie. It cracks me up to read reviews that praise this X-Mas comedy as an ahead of its time satire that wants to deliver a message. Yeah, about that....just N-O. This is a fun, stupid and at times in pretty poor taste comedy. I still like/love it because of all that badness, because I still remember seeing it in theaters with my Dad and my sister growing up. Watching it through 28-year old eyes as opposed to 12-year old eyes, it didn't resonate as well, the bad qualities starting to reveal itself far more than I remembered. Is it still good? You bet, but it's most definitely a guilty pleasure. 'Jingle' benefits from some on-location shooting in Minneapolis and the Mall of America and a Christmas Eve story is still a good jumping off point. As well, a Christmas-themed soundtrack adds to the atmosphere.

Seriously though, I mean come on. Arnold Schwarzenegger!!! This is an amazing performance from one of Hollywood's greatest action heroes. And you know what Hollywood was screaming for? A screwball comedy about an overworked Dad (with a heavy, heavy accent) who's slowly losing his mind. I'll give him credit where it's due. Schwarzenegger freaking commits to this part. It's still really easy to have some fun with him and his overacting, but it would have been a truly bad movie if he half-assed it. There's too many quality moments here to mention from Arnie's Howard pretending to be a ninja with his son, fighting a bunch of con men Santas with an immense candy cane, chasing a young girl down because she has a bouncy ball that could be his key to winning a Turbo Man, basically one thing after another slowly chipping away at his mental state. Making it worse? He keeps running into, working with and working against a similarly pissed off mailman, Myron (Sinbad), similarly searching for a Turbo Man for his son.

The story focuses on Schwarzenegger's toy adventures, following him from stores and malls to black market warehouses, radio stations to back home and everywhere in between. It's a story that certainly covers a lot of ground in its 89-minute running time. Who else to look for in a smallish ensemble? Phil Hartman as Ted, the Langston's seemingly perfect neighbor and a single Dad, Rita Wilson as Howard's wife, Liz, Robert Conrad as a police officer who keeps running into Howard, Martin Mull as a radio DJ who gets the misfortune of meeting Howard and Myron, and even Jim Belushi as the leader of the group of Santa Clause con men with his black market elves.

Maybe what I took away from 'Jingle' this time around is why people think this is an ahead of its time satirical comedy. It's really surprisingly dark at times. It's hinted that Hartman's Ted is basically sleeping with all of the neighborhood wives, with Wilson's Liz hopefully next up on the list. At one point, Sinbad's Myron pretends a package he's carrying is a bomb....except it's actually a bomb. At one point, a little person (Verne Troyer I believe) gets punched across a warehouse like a rag doll. By the end when Howard is using a jet pack that actually works and fighting a now-deranged Myron, it becomes almost surreal. A different movie than the one I remember watching as a kid, but still a decent flick.

Jingle All the Way (1996): ** 1/2 /****

Elf

Everyone has their favorite Christmas movies, the movies you have to watch ever holiday season. It seems most of them aren't that recent -- Holiday Inn to White Christmas, Christmas Story to It's a Wonderful Life and many more -- but there are some recent entries that will no doubt be on that must-see list for years to come. Maybe the best new Christmas movie of the last 15 years or so, 2003's Elf.

While delivering toys around the world one Christmas Eve, Santa Clause (Ed Asner) accidentally picks up a return gift to the North Pole....a baby from an adoption center. No one knows what to do, Papa Elf (Bob Newhart) choosing to care for the human baby as if it was his own. Years pass and the boy grows into a man, Buddy (Will Ferrell), who simply doesn't fit in with the rest of Santa's elves working at the North Pole. He doesn't quite realize it though that he's human, not an elf, and that's when Santa Clause and Papa Elf tell Buddy the truth about how he came to be one of Santa's Elves. Without a solution if he sticks around the North Pole, Buddy decides to travel to New York City where he can meet his real birth father, Walter Hobbs (James Caan) but there's a twist there too. Walter, a book publisher, is on the Naughty List!!! Can Buddy figure it all out though in the big, bad real world? He's going to have some fun either way.

I saw this Christmas flick soon after its release in 2003, only recently catching up with director Jon Favreau's flick recently as part of the holiday season. It is incredibly easy to see the appeal in this very sweet, very funny X-Mas comedy. 'Elf' treads that fine line between just plain dumb and dumb....but still really funny. Don't be confused, most if not all of the humor is pretty dumb, but everyone and everything commits to the goofiness, credit going to screenwriter David Berenbaum in that department. Smart or dumb, the message is the most important thing. This is a Christmas flick about just that, Christmas and the holiday spirit. Mixed in with Buddy's effort to find his family is Buddy's effort to help save Santa and Christmas during a New York City detour. It's the time of the season meant for family, fun, being together and believing. How can you go wrong with that sort of message no matter the package?

Now while I'm a big fan, I can appreciate that Will Ferrell's humor usually isn't for everyone. With movies like Anchorman, Talladega Nights and Step Brothers to his name, I'll always be a fan. Not everyone likes his typically odd, off the wall and most importantly, random sense of humor. For those few folks who haven't seen Elf, it's without a doubt his most family friendly movie. His performance as Buddy takes the movie from really good and funny to really good, funny and near classic. It works because Ferrell absolutely and completely commits to the goofiness. Growing up in the North Pole, working with the Elves every year, Buddy doesn't have a mean bone in him. He's polite, ridiculously nice and naive to....well, everything. He looks at and experiences life in the most pleasant way possible, with pure, unadulterated GLEE. It's impossible not to like Ferrell's Buddy, a great lead character for this sweet story.

There's too many memorable, truly funny scenes to mention, but some definitely stand out from the rest. Buddy's arrival in New York City is priceless, the genuinely naive man-child no idea what he's stepped into. He hops across a Manhattan sidewalk like he's playing hopscotch. He eats gum hidden under rails like the used gum is hidden treasure. He spins in a door like it's a roller coaster, waving at a businessman hailing a cab because he thinks he's just waving, takes paper ads and handouts because it'd be rude not to, the list goes on. As I mentioned, Ferrell absolutely commits to the part. It never feels forced, just an actor going for the best laugh possible. There's plenty of other moments to mention -- Buddy unknowingly getting drunk and dancing in a mail room, realizing a department store Santa (Artie Lange) is an imposter -- and one funnier than the next. Up to you to pick your favorite.

Kudos to the entire cast for committing, especially James Caan as the curmudgeonly, greedy book publisher who doesn't quite believe Buddy could possible be his son. It's fun seeing Caan do a lighter role, and he plays an excellent straight man to Ferrell's Buddy and his antics. The same for Ed Asner and Bob Newhart as Santa and Papa Elf, Newhart especially standing out with his typically deadpan delivery with seemingly no emotion at all. Also look for Zooey Deschanel as Jovie, a woman Buddy meets at Gimbel's working as an elf and instantly likes, Mary Steenburgen as Walter's wife who wants her husband to not be such a Grinch, Daniel Tay as Michael, Walter's younger son and Buddy's half-brother, and Faizon Love as the Gimbel's manager who has to deal with Buddy and all his antics.

There's a certain style here that plays well in addition to the story. The North Pole looks animated, and when it is real, it's pretty clearly an indoor set with "snow" and everything. When Buddy leaves, he talks to cartoon whales, penguins, bears and an arctic puffin as well as a wise snowman who tells Buddy it will be okay. The visual look reminded me of the old Christmas TV specials like Frosty the Snowman and Rudolph the Red-Nosed Reindeer. It all adds up to a gem of a Christmas flick, one that's definitely worth watching every December.

Elf (2003): *** 1/2 /****

Miracle on 34th Street (1947)

Well, it's Christmas time again, putting parents in awkward spots since....well, forever. How do you handle the Santa Clause issue to kids? Tell them or let them find out themselves? It's a great jumping off point for one of the all-time classic Christmas movies, 1947's Miracle on 34th Street.

In charge of organizing the Macy's Thanksgiving Day Parade, Doris Walker (Maureen O'Hara) is thrown for a loop when her Santa Clause turns up drunk on the float. She finds quite the stand-in, her new choice delighting the kids and parents in the crowd. He looks like Santa, talks like him, and is far better than previous Macy's Santas to the point he's offered the job as Santa Clause in Macy's, little kids lining up to see him and tell them what they want. There is an issue though. Named Kris Kringle (Edmund Gwenn), Kris says he is the Santa Clause. Doris finds herself in another spot, Kris has inspired an unlikely Christmas promotion nationwide in department stores across the country. What to do? Can she fire Santa? There's bigger issues though, a Macy's employee is taking the issue to court. Is Kris really Santa? Well, now it's for the court to settle.

The plot description for this 1947 Christmas movie from director George Seaton is tough. It's not that this is a complicated story, just an episodic one that covers a lot of ground for a Christmas movie. Clocking in at 96 minutes, it accomplishes a lot in its relatively short running time. Let's start with the look of the movie, a gorgeous, old-fashioned black and white that has aged quite well over the years. Steer clear of the colorized version! Seaton filmed on location in New York City as much as possible, giving us a good time capsule look at post-WWII NYC. There's some great footage early as Kris walks through Manhattan, as well as some even better behind the scenes(ish) footage of the Macy's parade. From the outdoor shots to the indoors at Macy's and Gimbel's, the look of the movie is pretty perfect.

That's all well and good though, but the best thing here is Gwenn as Kris Kingle, an old man with a round stomach and a big, white beard who claims he is the real Santa Clause. Could he be? Gwenn was nominated and won a Best Supporting Actor Oscar for his part, one of four nominations Seaton's film earned. It's easy to see why. First off, how do you play Santa Clause? Gwenn commits, and that's what is most key. The movie has its cynical moments -- about politics, Santa, belief/faith -- but the heart of the movie is Gwenn as Kris Kringle who convinces his employers at Macy's to help customers...wherever that may be, even if it's at another store! It's the spirit of Christmas, the time of the year for giving, for helping and for being thoughtful and generous. That's what Gwenn's Kris lives out and encourages.

In earning his Best Supporting Actor Oscar, Gwenn does just that; supports. He's in most scenes, but not all of them, his Kris Kringle character providing a jumping off point for the rest of the story and characters. Not quite episodic, but certainly approaching that territory. The focus is mostly on O'Hara's Doris, a single mom (I know, I was surprised as anyone to find out divorce existed in the 1940s!!!) who is trying to raise her daughter, Susan (9-year old Natalie Wood), basically as an adult, question everything and don't believe in all sorts of fairy tales and whatnot...namely Santa. What about when young Susan takes a liking to Kris, even if she's been taught not to believe in him? There's also the Walker's neighbor across the hallway, Fred Gailey (John Payne), a talented lawyer looking to make a name for himself who also strikes up a fast friendship with Kris, who stands for everything he shouldn't believe in. A good ensemble for sure, but there's more.

Also look for Gene Lockhart as the judge who presides over the Kris Kringle case, William Frawley (later of I Love Lucy fame) as his political adviser (how do you rule against Santa?), Porter Hall as Macy's amateur psychologist who gets on Kris' bad side and starts off the Santa circus, Jerome Cowan as the D.A. working against Kris, Philip Tonge as a nervous Macy's employee, and Alvin Greeman as Alfred, a 17-year old kid who volunteers as a Santa at a local youth club and meets Kris in his travels.

It's hard not to like this movie. 'Miracle' has its fair share of iconic moments from Wood's Susan suspiciously interviewing Kris at Macy's, famously pulling his beard, to Kris taking the stand at his own trial/hearing, answering enthusiastically and honesty about what he believes/knows to be the truth. The most famous scene though is obvious, Payne's Fred coming up with an ingenious way to prove Kris' identity. It's a great ending, followed up in the subsequent scenes which some good semi-twists. A Christmas movie that's aged incredibly well. Gwenn is excellent, young Natalie Wood a scene-stealer, their scenes together providing most of the movie's best moments. An easy one to recommend, one definitely worth checking out this holiday season.

Miracle on 34th Street (1947): *** 1/2 /****

Holiday Inn

It's that time of the year, the holiday season. Everyone has their favorite Christmas movies, right? I grew up in a house that always watched It's a Wonderful Life and White Christmas. Oh, and Jingle All the Way, Home Alone and many others are frequent watches come December. Then there's 1942's Holiday Inn, one my Dad and his siblings grew up on, one I hadn't seen all the way through since I was a kid. Thanks to a film series at Orland Marcus, I was able to watch it on the big screen.

A successful singer, songwriter and entertainer, Jim Hardy (Bing Crosby) is ready to walk away from his busy entertainment lifestyle. He's bought a farm in the Connecticut countryside and is going to move there with Lila (Virginia Dale), his singing/dancing partner, after one last show. Well, that's the plan at least. Lila instead chooses to go with Jim's rival and quasi-partner, Ted Hanover (Fred Astaire), leaving Jim to move to his spacious farm and country inn by himself. The country life doesn't seem to agree with him, forcing the talented entertainer to come up with a new plan. Looking to provide a new sort of entertainment outlet, Jim decides to open the inn as Holiday Inn, a club/restaurant that's only open on the major holidays. With some help from a young, talented singer/dancer, Linda Mason (Marjorie Reynolds), he puts his plan into action that works immediately....until Ted shows up on his doorstep.

My parents have said over the years I was born in the wrong generation. Case in point? Old movies, almost all of my favorite movies released before 1970. So when chances come along to see some of these old classics in theaters, I've gotta jump at the chance. This musical comedy from director Mark Sandrich doesn't scream 'BIG SCREEN!' like say, Lawrence of Arabia, but in its original black and white format, it looks great 71 years since its original release. It isn't a prototypical Christmas movie -- covering a whole lot of holidays -- but there is a certain holiday charm to it, an old school charm that plays well now in 2013. It's funny with a talented cast, has some good musical numbers and deserves its place with the rest of the frequent watches come December and the holiday season.

For me, it's hard not to compare 'Holiday' to 1954's White Christmas, one of my all-time favorites. Both films rely on the chemistry (and quasi-rivalry) with its two male leads, Crosby and Astaire here, Crosby and Danny Kaye in 'White.' Here between Bing Crosby and Fred Astaire, it ain't so much of a friendship, leaning far more to the rivalry-side. It plays like two high school students trying to one-up each other, Crosby's Jim falling for Reynolds' Linda, Astaire's Ted also falling for her as a dancer partner, wanting to take her to the big time as an entertainer. So friendship is out the window, but the rivalry does provide some fireworks, the rivalry nonetheless showing off that chemistry between the duo. It's always fun too when the two rivals get to fight over the ladies in their lives, notably the angelic Linda and the conniving, man-eating Lila. Also look for Walter Abel as Danny, Ted's conniving manager with dollar signs for eyes.

Enough with acting and story, onto the songs!!! Yeah, I know, pretty manly intro. When the music is from composer Irving Berlin, it doesn't matter the movie. I'm going to be on board. 'Holiday' is probably most famous for really putting one of the best Christmas songs ever, White Christmas, out there for audiences to appreciate. For the four people who haven't heard the song, listen to it HERE. With Bing Crosby singing, we're talking about one classic Christmas carol. 'Holiday' even won an Oscar for the song while picking up nominations for best writing and best original story. It deserves its status as a worthwhile, classic holiday movie for that song alone.

More than just one song though, 'Holiday' has 12 different songs written expressly for the script/screenplay. The story more than anything is simply an excuse to string the songs together into something coherent more than just a stage/entertainment show. That's where the style comes in, Jim's Holiday Inn only opening for the major holidays, stylish calendar inserts introducing one number after another. Without posting a boatload of links, check a series of them out HERE. There is most definitely a variety to choose from. Some give Bing a chance to sing, others a chance for Fred to dance and with crossovers featuring both, not to mention Linda and Lila getting into the action. Never a dull moment, and musical numbers that are entertaining without being awkwardly embarrassing and find new ways to get those numbers into a story.

There is one other thing worth mentioning. A musical number for Lincoln's birthday, Abraham, has Bing and Marjorie, the band and the waitstaff in blackface. All sorts of politically incorrect in this very politically correct era. Naturally, it doesn't age well to the point its laughable in its execution. Decent enough song, but it's hard not to chuckle at it now. Watch it HERE. I didn't find it particularly offensive, but be forewarned, some people are offended far easier than I am. Also in the cringe-worthy department is Jim's cook/maid/housekeeper, Mamie (Louise Beavers). Not bad stuff, just a little dated. Still, the movie itself is a gem, well worth checking out for the holiday seasons.

Holiday Inn (1942): ***/****

We're No Angels

By 1955, Humphrey Bogart had done everything possible to be a true Hollywood legend. What do you think of when you hear his name though? I typically think of heavy roles, dramatic, intimidating tough guys. Sure, they're not all like that, The African Queen comes to mind, but a majority were. Well, we can add another film to that small list, 1955's We're No Angels.

It's Christmas Eve on Devil's Island in 1895, and three convicts, Joseph (Bogart), Albert (Aldo Ray) and Jules (Peter Ustinov), have managed to escape. The only problem? They've got no money, no papers, and no way of getting off the island. Instead, they meet Felix Ducotel (Leo G. Carroll), a quiet, worrisome and soft-spoken shopkeeper who offers them a job fixing his roof. The trio sees a chance for some easy money, pretending to work on the roof and waiting for nightfall for a chance to rob the shopkeeper blind, giving them everything they need to pull off the successful escape. Pretty simple, right? From their rooftop perch, the convicts start to listen to the goings on in Felix's worrisome life. Uh-oh, now the convicts are interested and even going to help. That escape plan is on hold....for now.

This was a movie on my Netflix queue as a 'Save' option for months after I accidentally read about it at IMDB. I couldn't find it anywhere, and it didn't seem to be on TV...ever. So when TCM aired it in early December, I jumped at the chance. It was well worth the wait. That plot description doesn't exactly scream out buddy comedy, does it? That's what it is though at its most basic. It just happens to be a buddy comedy on steroids that blends a great script, perfect casting and a unique setting that takes advantage of the early stages of widescreen format in films. Long story short, I liked this movie from director Michael Curtiz a whole lot.

The casting works so well because it plays against convention and typecasting. My first thought at hearing Bogie, Aldo Ray and Peter Ustinov in a movie about convicts escaping Devil's Island? Not going to be a comedy. While all three actually are criminals, their crimes are played for laughs (Bogie is a forger, Ray and Ustinov murderers) and end up producing some of the biggest laughs in the movie. I probably use this too much, but the chemistry among these three actors -- all very talented in their own right -- is spot-on. It's effortless. They do it with ease. And because it's a comedy, it's that much better. Dramatic actors doing comedy can be hit or miss, but when handled correctly as it is here, it can carry a movie.

So as is usually the case, this movie goes both ways. Is it the cast lifting up a script or a solid script giving the cast something to do for a change? Oh, no, the Chicken or Egg: Movie Edition! It's both here. Bogie, Ray and Ustinov doing comedy is a welcome change. As good as they are dramatically, they're even better doing comedy. Read some of the more memorable quotes from 'Angels' over at IMDB HERE. It's never obvious humor, most of it underplayed to the point some lines are probably too subtle to even register. That is the beauty though of smart humor though. And throw into the shenanigans, Adolph, a very little, very poisonous snake as the fourth member of the troop with a knack for "solving problems," and we've got some laughs.

Playing the straight man to the convicts' subtle shenanigans, Carroll does a fine job as constantly worried Felix whether it be his family or his business. Joan Bennett and Gloria Talbott round out Felix's family, his loving wife, Amelie, and his daughter, Isabel, madly in love. Basil Rathbone and John Baer play visiting family members, both with their own secrets and looking to take advantage of Felix, his family and his general store. Rathbone is particularly nasty, rounding out a supporting cast that does a solid job without taking away the spotlight from the three main stars.

On top of the acting though the little things come through in 'Angels.' It was one of the first films to use Vistavision, a unique, very colorful widescreen format. The main setting -- Felix's shop, house and roof -- plays like an on-stage play, but the screen is constantly full of bright colors and vivid backgrounds. It hits the ground running in an opening scene that shows the trio of angels escaping from quite a distance. The story itself is pretty interesting and never dull, but it never hurts when a movie is fun to watch in a visual-sense alone. As I seem to do so often, I feel like I'm not explaining why I liked this movie real well (damn comedies!), but I did. A lot, I liked this movie a ton. If you can find a copy or stumble across it on TV, sit down, plant it somewhere comfy and enjoy it.

We're No Angels (1955): *** 1/2 /**** 

Christmas in Connecticut

One of if not the best and most recognizable femme fatales in film noir movies of the 1940s, Barbara Stanwyck excelled at seductive, cold, ruthless female characters early in her career like Double Indemnity. Even when she wasn't glamming it up, she was a more dramatic actress. It's change of pace time, and one of Stanwyck's best and most different roles was 1945's Christmas in Connecticut.

A highly successful and very popular syndicated writer, Elizabeth Lane (Stanwyck) has created quite the elaborate lie. She publishes a monthly column about life on her farm with her husband, baby, and assorted adorable animals. The only problem? Elizabeth lives in a small New York City apartment. Her problem gets bigger when a sailor, Jefferson Jones (Dennis Morgan), rescued after 18 days on the open ocean has requested he meet Elizabeth and be treated to an All-American Christmas. Her publisher (Sydney Greenstreet) has complied, putting Elizabeth in quite the spot. With Jones and her boss on the way, can she continue to pull off a ruse with some help from friend and possible suitor, John (Reginald Gardiner)?

Let the 1940s crazy shenanigans begin! The premise is funny but ridiculous from the word 'go.' How do you pull off a ruse like this? Lies, lies and more lies. It reminded me of an extended episode of I Love Lucy, a crazy scheme that in no possible way would ever work....working. There are some very funny running gags including an appearance-changing baby, a judge (Dick Elliott) constantly trying to marry Elizabeth and John, and Greenstreet's publisher consistently muscling his way into problems. It's a 1940s romantic comedy, and that's a good thing. Stupid? Yes. Ridiculous? Oh, you know it. On the other hand.....

It's a sweet, innocent story that could only work in 1940s America. Romantic comedies released recently are mind-numbing, stories of "old maids" who can't get married, girls/guys talking about their conquests, and dreamy guys who always end up with the can't find a man "I'm so unlucky" woman. Some of that is on display here, but because it was made in the 1940s as opposed to the 2010s, it just works better (in my messed up head anyways). You can probably predict the ending now without seeing the movie. But the funny story, better script, black and white camerawork, a great cast, it all rolls up together into a winner. It just does. Would a story like this work now in 2011? Nope, and that's a good thing.

For all the movies I've seen (and are trying to see), I've only seen Stanwyck in one other movie I can think of even if I was aware of her screen presence as a seductive femme fatale. She does comedy here effortlessly. Her line deliveries are perfect as she navigates her way through "her life," not knowing how to care for a baby, to keep up a house, to cook, to do all the basics a wife might be able to expect. The humor is dry, her deliveries mostly subtle, and the looks she gives are priceless. It's always nice to see someone step out of their box as a performer, and Stanwyck nails this part. Her Elizabeth Lane is a great central character, her predicament seemingly getting worse by the moment.

Other than fellow noir alum Greenstreet, 'Connecticut's' supporting cast doesn't have a lot of star power or name recognition. Morgan as Jones is somewhat dull, the all-American soldier returning home to a hero's welcome, but he does have a good chemistry with Stanwyck, and that's all that really matters. Greenstreet too has a lighter part (with a somewhat darker side) as the money-minded publisher, Alexander Yardley. Gardiner as John Sloan is the dupe, keeping a seat warm until Elizabeth realizes she likes Jefferson. Heavily-accented Hungarian actor S.Z. Sakall is a scene-stealer as Felix, Elizabeth's friend and expert on cooking, with Una O'Connor playing Sloan's Irish live-in maid, Norah.

Not a Christmas classic up there in the vein of Wonderful Life, White Christmas, Miracle on 34th Street, but this is a winner. I'm disappointed I took so long actually sitting down and watching it. Definitely a movie that qualifies as one of those rare "They don't make them like they used to." Funny, charming, and sugary sweet, and a great movie overall.

Christmas in Connecticut <---TCM trailer/clips (1945): ***/****

The Bishop's Wife

Ah, it's almost Christmas season. The toys and gifts, the decorations, the music, the bad sweaters. This is a holiday that's got it all. What do I love most about the Christmas season? Besides all of it I guess. Well, you're reading a movie review blog so if you guess.....movies, you win a cookie. Happy Kwanz-Hana-Solstice-Mas! Today's hopefully timely review, 1947's The Bishop's Wife.

Bishop Henry Brougham (David Niven) is in trouble. One of the youngest appointed bishops in the country, Henry is desperately seeking funds to build a new cathedral. His efforts are all-encompassing, taking over all aspects of life. His wife, Julia (Loretta Young), is drifting away, and Henry can do nothing about it. One night seeking guidance, he prays and what appears? An angel in his office by the name of Dudley (Cary Grant) who hopes to help him however he can, but now how Henry would have anticipated. Does the bishop truly believe Dudley is an angel? And what exactly does Dudley plan to do?

Comedies to drama, musicals to cartoons, I can find something redeeming in just about every Christmas movie out there. Coming up with a positive for 'Wife' was not difficult. The word(s) that come to mind? Sweet and charming. Definitely a qualifier for 'they don't make them like this anymore.' In terms of quality and emotion (not to mention some casting repeats), it would run as quite a double bill with It's a Wonderful Life. It has a message but doesn't hit you over the head with it. It's funny but doesn't try too hard. It's sweet but isn't sappy. Director Henry Koster keeps a nice balance among all those elements.

If you're going for charming, is there a better actor in the history of movies to pick than Cary Grant? I'm trying to come up with a name and keep on drawing a blank. Oddly enough, this part was one of Grant's least favorite. Why? Who knows because I think it's perfect casting. Playing the angel Dudley, Grant has that right mix of charm, intelligence and genuine interest in helping others. What separates the role from good and great is the tragic element in the character. Trying to bring Niven's Henry and Young's Julia together, Dudley falls for Julia but knows nothing can come of it. The ending for Dudley is far from a happy one, but a necessary one for the movie, and in a bigger sense that's more than just him; a perfect happy ending. Great part for Grant.

Now I debated diving into this at all because talking about religion never ends well. NEVER. So with that said, let's talk some religion! A movie about an angel will no doubt divide some viewers, but I loved the portrayal. Dudley explains his job and means of going about it several times, a guide along the way who helps make decisions. Once the decision is made though, he's gone, leaving it on the individual like they came to that point on their own. The supernatural aspect is played up at times with Dudley's abilities, and the script is pitch-perfect with a long list of one-liners and sight gags; Dudley saying he'll talk to God about a blessing, talking about his centuries-long life, and so much more.

This romantic comedy does not fall just on the shoulders of Grant, both Niven and Young helping carry the load. Niven is the viewer, the doubting Thomas who questions Dudley's reality while Young is the wife who wants back what she always had, a loving and attentive husband. Monty Woolley plays Prof. Wutheridge, an old friend of the Brougham's, James Gleason plays amiable cabbie Sylvester, Gladys Cooper is Mrs. Hamilton, a manipulative money donor, Elsa Lanchester is Matilda, the Brougham's maid, and Karolyn Grimes (year removed from playing Zuzu in 'Wonderful Life') is Debby, the Brougham's daughter. Just a good movie from top to bottom, and a Christmas classic.  

The Bishop's Wife <---TCM trailer/clips (1947): ****/****

Holiday Affair

After being arrested for possession of marijuana in 1948, Robert Mitchum had his work cut out for him in the eyes of the studio. How could audiences go see the movies of a man who would do something so horrible? Hindsight here is of course 20/20 -- audiences didn't care both at the time and in the long term -- but nutbag himself Howard Hughes insisted Mitchum clean up his act some, including acting in a sweet, little Christmas movie, 1949's Holiday Affair.

From his days as a supporting bit player to later in his career as a big-time movie star, Mitchum played a huge variety of roles, but they were often based in one similar character...a laconic but still tough, very capable man who usually ended up on the good side, usually in a film noir or a western. Sure, there were exceptions like his villainous turns in Night of the Hunter and Cape Fear where's he is downright frightening, but typically he took roles that were in his wheelhouse. But of all the Mitchum movies I've seen, Holiday Affair is the first, wait for it, romantic comedy I ever saw him in.

Mitchum plays Steve Mason, a department store salesman with dreams of heading to the west coast to design sailing boats. He's an all-around good guy, if a little quirky. But one day at the store, he doesn't turn in Connie Ennis (Janet Leigh), a comparison shopper looking for the best deals around town. As a result, Steve gets fired. Connie offers to take him to lunch -- because that makes up for losing your job -- and Steve ends up helping her the rest of the day posing as her husband. He even helps bring some of her purchases home where he meets Carl (Wendell Corey), Connie's fiance, and her 6-year old son, Timmy (Gordon Gebert), who's father was killed in WWII.

Well, Carl is no idiot and sees that right away Steve is a bit of a threat to his idyllic little life he's got planned out (I shouldn't say that, it makes it sound like Carl is an evil genius). Making it tougher, precocious Timmy clicks right away with the quirky Steve. Seeing he's caused a bit of a stir, Steve excuses himself and leaves but that's not the end for him and Connie and Carl and Timmy. Set in New York in the days around Christmas and New Year, this was a harmless enough romantic comedy. I didn't spoil how the ending goes, but if you can't figure it out, you haven't seen enough romantic comedies.

For a change it is nice to see Mitchum play completely against type. Just like other actors often typecast into a certain part -- John Wayne comes to mind -- Mitchum had a ton of ability onscreen. He was an actor, not just a movie star, so seeing him do some comedy is great after so many parts where he is a tough detective or a roaming gunfighter. The same goes for Janet Leigh who was often in big period epics like The Vikings or darker roles like Psycho or The Naked Spur. As a single mother, she's trying to stay connected with her deceased husband while caring for her son. Now to Corey, who's perfect as the other guy schlub, the man who starts with the girl but is destined not to get her in the end. It's only a matter of how long before it happens. Also look for a young Harry Morgan in a great one-scene appearance as a police lieutenant trying to figure exactly what's going on with Steve, Connie and Carl.

Nothing really spectacular about this one at all with a generally cheap TV feel to the story. Eight-year old Gebert is surprisingly good for a child actor, handling his scenes well enough with Mitchum, Leigh and Corey to the point he's not overshadowed. He does have the syndrome so often present in romantic comedies; kids that say things no real kid would ever say, but it's never obnoxious. Even with nothing to set this apart from most other B-movies, it's enjoyable and it is hard to mess up a Christmas movie. Couldn't find a trailer, but TCM has four clips available to watch.

Holiday Affair (1949): ** 1/2 /****

It's a Wonderful Life

As much as possible here with my reviews, I do my best to avoid huge, sweeping generalities about moviegoers and their likes and dislikes...this is not one of those times. Released in 1946 to mixed reviews and a horrific showing in theaters, It's a Wonderful Life was pretty much left by the wayside for many years only to be given new life as a new generation of moviegoers rediscovered it in the 1970s and 1980s. Let me say this about critics and audiences in 1946 who didn't think too highly of this movie; they are IDIOTS.

If director Frank Capra can be accused of anything for his abilities as a moviemaker, it was that his films tended to be on the sentimental, downright sappy side. The description 'Capra-esque' is used all the time now to describe a movie that doesn't have a mean bone in its body. Is that really a bad thing? Coming from a movie fan who can be pretty cynical, doesn't really enjoy Hollywood happy endings, and is ready to roll his eyes at a moment's notice, that's saying something. 'Wonderful Life' is sappy, sentimental and meant to tug at your heart strings. What's wrong with a movie that is content being wholesome and entertaining?

For those people who haven't seen the movie -- I think they're called Communists -- here's the quick breakdown. George Bailey (James Stewart) is a family man in the town of Bedford Falls with his wife Mary (Donna Reed) and their four kids. George runs the Building and Loan, a small business that is basically all that remains in town not owning to rich old curmudgeon Mr. Potter (played to evil perfection by Lionel Barrymore). After years of struggling to stay above water financially, George has hit his breaking point. His partner and family relative Uncle Billy (Thomas Mitchell) lost $8,000 that the Building and Loan needs to survive. Looking at a lengthy jail sentence, George seeks a way out and comes to the conclusion he's worth more to his family dead than alive.

But standing on a bridge ready to jump into the freezing waters below, George instead has to jump in after another man that fell in. His name is Clarence (Henry Travers), an angel 2nd Class -- he doesn't have his wings yet -- and he's been sent to save George. But to convince him he's real, Clarence gives George a rare gift...to see what the world would be like if he was never born. Given this opportunity, George sees what a profound affect he's had on people all his life.

Much of the story is George's life seen in flashback as Clarence learns about the man he's supposed to save. This first 75 minutes is key, absolutely essential to show what George's makeup is. His life didn't turn out anywhere near what he had planned, but even with some detours and changes, he has a happy life through his marriage with Mary and his four children. He has family and friends and almost a whole town that needs him. These parts set the stage perfectly for the last hour of the movie as George is forced to take stock of his life and see what he's really accomplished with a life he thinks has been a waste to a certain point.

But the highlight of the movie is that final hour, one of the best extended sequences in the history of the movies. Watching George realize what's going on as he sees how different the world would be if he'd never been born is a series of perfect little vignettes. This leads him to realize his life was actually pretty great, building up to one of the all time great endings to a movie -- seen HERE if you've never seen it. Now I'm not usually a crier with movies, but I'll admit to crying like a little baby at this ending. It is the perfect ending to this story, well almost, but more on that later.

Jimmy Stewart had a lot of classics in his distinguished career, but this movie easily goes Top 5 with much of the praise coming from his performance. He brings George Bailey to life in creating one of Hollywood's greatest characters. As his wife, Donna Reed is the all-American girl everyone wants to marry, and the two do have great chemistry. On a side note, I find it hard to believe that Reed's Mary could not have found a husband if George wasn't around, but maybe that's just me. The supporting cast is just as good with Barrymore never more evil, Travers very funny as Clarence, the 293-year old angel, and Mitchell as bumbling Uncle Billy. There's also Ward Bond, Frank Faylen, Beulah Bondi, Gloria Grahame, and many more recognizable faces.

As absolutely perfect as the ending is in terms of producing an emotion in the audience, there is a question left unresolved. What about evil Mr. Potter? Saturday Night Live answered that question with one of their most inspired skits ever, check it out HERE at Hulu. The original though is the definition of a Christmas classic that's success just keeps on growing. If you haven't seen this movie yet, first what's wrong with you, and second go find it now.

It's a Wonderful Life <----trailer (1946): ****/****

White Christmas

Ah, the Christmas movie. Everyone's got a favorite, and if they don't, well they're just lying. It's hard for me to pick just one, It's a Wonderful Life is surely top 2 (review to come in the next day or so), but then there's also A Christmas Story, Christmas Vacation, Jingle All the Way, and even Bad Santa. But right up there with 'Wonderful Life' is Irving Berlin's 1954 musical White Christmas.

This is one of the few musicals I can actually watch, partially because it's a Christmas musical (and what could possibly go wrong with that?) and also because Christmas crooner Bing Crosby is the star. Just like everyone has their favorite Christmas movie, usually anyone you ask can quickly identify their favorite Xmas song too, and for me, it's just about anything Crosby sings. His version of Berlin's White Christmas is the quintessential holiday song and serves as a nice jumping off point for this 50s musical.

Two song and dance men, Bob Wallace (Crosby) and Phil Davis (Danny Kaye), have hit it big since teaming up after WWII (Davis saved Wallace's life and basically guilts Bob into working with him). Their shows tour the country, filling theaters with their unique performances. While touring in Florida, they get a message from an old war buddy asking them to go check out his sisters' show. So Bob and Phil head to a club and see Betty (Rosemary Clooney) and Judy (Vera Ellen) Haynes put on their show. Through some shenanigans with a hotel owner, a sheriff and a burnt rug (it's not worth it to explain it all), all four end up on a train bound for Vermont where the Haynes sisters have been hired at the Pine Tree Inn, a ski lodge.

Arriving in Vermont, the quartet find there's no snow for skiing during the holidays and to top it off, their old commanding general, Thomas Waverly (Dean Jagger) owns the struggling inn. Quick thinkers that they are, Bob and Phil decide to bring their hugely popular show up and get some business going for Gen. Waverly. Whatever acts they can't get, they'll have the Haynes sisters fill in. As the plan snowballs though, Bob has one more surprise up his sleeve with noisy housekeeper and all-around busybody Emma (Mary Wickes in a very funny supporting part) always trying to figure out what's going on

At 120 minutes, it might seem somewhat long for a musical but the story never goes more than a few minutes without a musical number of some sort, whether it be Ellen and Kaye dancing, the whole cast doing a minstrel number (my personal favorite), the foursome spontaneously bursting into song about snow (another gem), or Clooney singing a love song. The point is the whole movie is an excuse for a very talented cast to show off their talents. The actual story while highly enjoyable and sometimes heartbreaking -- poor General Waverly -- is completely lost in the ongoing musical numbers. Ellen was a highly respected dancer in Hollywood, Clooney can sing with the best of them, and Crosby and Kaye are equally adept at song, dance or comedy. Composer Irving Berlin pulls out all the stops in delivering a long list of quality musical numbers.

This is a movie that's obvious as you watch it that the cast and crew had fun making it. Fred Astaire was originally supposed to star only to be replaced by Danny Kaye. Sure, it would have been great to see Crosby and Astaire in another holiday classic -- think Holiday Inn 2 -- but Crosby and Kaye are perfect together with on-screen chemistry to spare, including one hilarious bit as they perform as the Haynes sisters. Here's the girls' version, and then here's the gents' spin on it. Of course, it is a musical so there does have to be some romantic fireworks as Crosby ends up with Clooney and Kaye with Ellen. All four actors work together so effortlessly in making this Christmas classic. Clooney didn't act in many movies, but I've always had a crush on her because of this part. She can sing, do comedy and is the definition of a classic beauty.

A fun movie all around, and what would you expect from director Michael Curtiz, who also made a little film called Casablanca, maybe you've heard of it? Filmed in Vistavision with tons of bright colors and great visuals, this isn't just a typical musical but a great movie overall with dead-on casting, plenty of humor to spread around, and of course, some great musical numbers. Remember, that's coming from a musical-phobe who usually avoids them like the plague. A perfect Christmas movie and one I look forward to watching every year. Check it out on Youtube starting here, although I'd highly recommend the DVD.

White Christmas <----trailer (1954): ****/****

3 Godfathers

By the time John Ford's 3 Godfathers was released in 1948, the basic premise of the story had been used several times before...five times in movie form actually and one was even directed by Ford. But by 1948, Ford had more technology available to him including the obvious one, sound, and Technicolor formatting that was also used a year later in She Wore a Yellow Ribbon. The famous director also played up another aspect of the story, an allegory of Jesus' birth and the three kings who came to see him, but keeping the unique spin of setting the story in the wild west.

After successfully robbing a bank in the town of Welcome, Arizona, three men, Bob Hightower (John Wayne), a Texas outlaw who lives on the wrong side of the law, William Kearney (Harry Carey Jr), a youngster known as the Abilene Kid along for his first robbery, and Pedro Rocafuerte (Pedro Armendariz), a Mexican bandit who's ridden with Bob, hightail it into the desert with a posse close behind. Leading that posse is Sheriff Perley 'Buck' Sweet (Ward Bond), a peace officer who tries to avoid violence as much as he can. Trying to outsmart the other one, Bob and Buck try to get to one of the few water holes in the area.

Reaching one of those holes, Bob and Co. stumble across a wagon with a pregnant mother (Mildred Natwick) inside ready to give birth. Struggling to stay alive, she gives birth to a boy, asking these three men to care for her son as godfathers, dying soon after. So these three outlaws give their word and must figure out how to care for the infant in the desert with little water for them, much less a baby. Knowing the posse will figure out where they are, the trio heads off for New Jerusalem, the closest town around, with no horses, a few canteens of water and no food across the desert to deliver the boy to safety.

Over a career that spanned silent and sound movies, the name John Ford became synonymous with westerns, and while this is not one of his most respected or well known westerns, it's still an above average entry into his filmography. He filmed the movie in the Mojave Desert and Death Valley as opposed to Monument Valley, and the results show. It's a stark landscape the three godfathers must trudge across to get to New Jerusalem. Ford takes advantage of the Technicolor imaging, bringing colors to life where many directors would have filmed the desert in black and white. Certain Ford touches are here, especially in the somewhat sappy ending that differs from the tone of the rest of the movie, but that's a given when watching one of this director's movies.

By 1948, John Wayne had become Ford's go-to guy with a lead role as he was just coming off the success of Fort Apache, the first of Ford's so-called Cavalry trilogy. To be fair, I haven't seen all of Wayne's hour-long serials, but this is one of the few movies where the actor played a bad guy...sort of. Sure, he's an outlaw and a bank robber, but a really nice one at that. The same goes for Armendariz and Carey Jr. The trio has chemistry to spare as they care for Robert William Pedro, the name given the boy in honor of his godfathers. There's obvious humor as three bachelor outlaws who have no idea to care for a baby struggle to adjust. Wayne was a fine comedic actor when given the chance, and he provides several good laughs in this one as do Armendariz and Carey Jr.. As the sheriff chasing them, Bond is his usual self, a loud, boisterious fella who is nonetheless a likable guy.

After rival Howard Hawks gave Carey Jr a supporting role in Red River, a somewhat insulted Ford -- who worked with Carey Sr many times -- took it upon himself to add the young actor in the cast listing as 'And introducing Harry Carey Jr.' It seems Ford didn't want to talk about Red River. But that's how Ford was, and over the years he built the Ford Stock Company, actors and actresses you see in almost all his movies. Armendariz, Carey Jr, Natwick and Bond all qualify, but that list also includes Jane Darwell, Hank Worden, Jack Pennick, Mae Marsh, all of whom have supporting parts in 3 Godfathers. Also look for Ben Johnson in his first credited role as one of Sweet's posse.

So as Christmas draws near, if you're looking for an atypical holiday movie give this one a try. It's not a straight-on Christmas story, but it's close and at the heart of the movie is a sweet story about three tough outlaws putting themselves in harm's way to care for a newborn infant. Good casting as usual with a Ford movie, beautiful on-location filming, and a solid story that's been reused time and again since *cough 3 Men and a Baby cough*. It's available on Youtube, starting here with Part 1 of 11, but this is one I'd recommend watching on TV for the scope of the movie.

3 Godfathers <----trailer (1948): *** 1/2 /****