Bush Christmas (1947)

Bush Christmas (Dir: Ralph Smart, 1947).

Set in the small valley community of Mara Mara, Bush Christmas follows the adventures of five children: brothers John (Morris Unicomb) and Snow (Nicky Yardley), their big sister Helen (Helen Grieve), English evacuee Michael (Michael Yardley) and friend Nesa (Nesa Saunders). After some horses are stolen from their ranch home, the kids decide to take the law into their own hands and set out into the Australian bush in order to track down the thieves and rescue the precious animals.

As the opening credits inform us, Bush Christmas was "made for cinema clubs for boys and girls" and was one of the first feature films from Rank Organisation's Children's Entertainment Film unit; a department which would eventually evolve into the Children's Film Foundation (CFF).

Bush Christmas has much higher production values than one would usually associate with the Children's Film Foundation. Although low budget, it feels significantly more polished than the usual, appealingly amateur, CFF output. Director Ralph Smart keeps the action moving at a steady pace while cinematographer George Heath captures the locations beautifully. Filmed in the Blue Mountains of New South Wales, the location photography is a definite plus and lends an atmosphere unique in family movies of the era. In common with CFF productions is the movie's simple plotting and broad performances, making it is easy to follow for its intended young audiences.

Chips Rafferty, then Australia's biggest homegrown movie star, hams it up nicely as Long Bill, the leader of the horse thieves. John Fernside and Stan Tolhurst are his cohorts, alternating some broad comedy with the required menace, as they are outwitted every step of the way by the kids.

Performances from the youngsters, none of whom had significant acting careers as adults, are appealing and natural. Nesa, the only indigenous lad, is slightly stereotyped, perhaps to be expected considering the era in which the movie was made. However, I feel the stereotyping is more naive than negative; with his knowledge of bush crafts he is shown to be the most intelligent and resourceful of the gang.

Set during the Australian summer, Bush Christmas is not especially festive for western audiences and is suitable viewing all year round. It is a modest little movie, but an engaging one at that. Perhaps a mite dated, but with enough comedy and action as to make it a worthwhile watch, especially for those looking for an alternative to modern family fare.  

The Men of Sherwood Forest (1954)

The Men of Sherwood Forest (Dir: Val Guest, 1954). 

An early production from Hammer Films, The Men of Sherwood Forest is a low budget but spirited romp with Don Taylor as the legendary Robin Hood. 

Deviating somewhat from the usual retelling of the legend, the simple plot involves Robin and his Merrie Men attempting to thwart an ambush attack on Richard the Lionheart on his return from the Crusades.

More famous for their Horror movies, Hammer also did a nice line in swashbucklers; the studio produced four Robin Hood movies, of which this was the first. 

Although clearly working with a meagre budget, director Val Guest makes decent use of outdoor locales and the movie feels less studio bound than might be expected. It also benefits from being shot in colour and whilst the action is not as well staged as in a more lavish production, Guest generally elicits decent performances from his actors, not all of whom are perfectly cast.

In the leading role, Don Taylor makes for a slightly bland hero. There is nothing essentially  wrong with his performance and with an athletic build he certainly looks the part of Robin. However with an accent that is more Hollywood than Sherwood, Taylor lacks both the authenticity and charisma of earlier Robin Hoods such as Errol Flynn or Richard Todd. Likewise, Leonard Sachs is not ideally cast as The Sheriff of Nottingham, lacking both the authoritative air and any real sense of menace to make a truly memorable villain.

The best performances are to be found in the supporting cast. Maid Marian is inexplicably missing from The Men of Sherwood Forest; her replacement here is Lady Alys in a nice performance by Eileen Moore. A loyal ally to Robin, she holds her own with the best of the Merrie Men, but there is no romance between the two. Robin’s most significant relationship here is with Friar Tuck. As the wily man of the cloth cum con artist Reginald Beckwith gives a marvellous comic performance which is arguably the movie's highlight.  

There are slicker swashbucklers than this; The Adventures of Robin Hood (Michael Curtis, 1938) is still the definitive cinematic take on the legend and star Errol Flynn the definitive Robin. Yet, while The Men of Sherwood Forest is no masterpiece, as an example of the sort of boys own adventure that once filled matinees, it is invaluable. Cheap and cheerful maybe, but also engagingly innocent, old fashioned fun. 

Murder at the Gallop (1963)

Murder at the Gallop (Dir: George Pollock, 1963).

Following the success of Murder She Said (George Pollock, 1961) aging amateur detective Miss Marple returns to investigate the death of the elderly Mr Enderby, supposedly frightened to death by a cat. Eavesdropping at the reading of Enderby's will, where his estate is divided between four family members, Miss Marple's suspicions are confirmed when the deceased's sister Cora suggests that the old man was murdered. When Miss Marple visits Cora to question her, she finds the sister too has been murdered. Deciding to investigate further, Miss Marple books herself a holiday at The Gallop Hotel and Riding School, an establishment run by Enderby's nephew Hector and the other surviving heirs.

The second of MGM’s Miss Marple movies was the first not to be based upon a Miss Marple novel. Rather, Murder at the Gallop is based upon Agatha Christie’s 1953 novel 'After the Funeral', which featured her other most famous creation, Belgian detective Hercule Poirot. 

Poirot is nowhere to be found in this adaptation in which he is supplanted by Margaret Rutherford’s bluffly brilliant interpretation of Miss Marple. Rutherford's real life husband Stringer Davis returns as loyal companion Mr Stringer, as does Charles Tingwell as the weary Inspector Craddock. Standout among the supporting cast is Robert Morley; his excellent comic turn as Hector Enderby threatens to steal the movie from Ms Rutherford. The quality cast also features neat performances from acting legends Flora Robson and Finlay Currie.

As with Murder She Said, the movie paints a picture of a quaint post-War Britain that never really existed and must have seemed archaic to audiences in the so-called 'swinging' sixties. But I feel this is kind of the point. The movie is very tongue-in-cheek and never takes itself too seriously; gently mocking genteel middle England, while at the same time romanticising it.

Again, this maybe not be an adaptation for Christie purists, but like the previous movie it is a lot of fun. There are some genuine moments of suspense amongst the jollity and Miss Marple even does the twist. What's not to love?

Murder She Said (1961)

Murder She Said (Dir: George Pollock, 1961).

The first in a series of four MGM-British murder mysteries staring the incomparable Margaret Rutherford as Agatha Christie’s amateur sleuth Miss Marple. 

Adapted from Christie's 1957 novel '4:50 from Paddington', Murder She Said sees Miss Marple witness a murder on a passing train. When the police won't listen to her, she takes matters into her own hands. Surmising that the body must have been deposited at the nearby Ackenthorpe Hall, she poses as a maid and finds employment at the stately home. Here she is perfectly placed to investigate the family and staff who would all appear to have motive for murder. Meanwhile the killer racks up a few more bodies.

This has to rank as among the most lighthearted Agatha Christie adaptations, taking a far more comedic approach than usual. Somewhat surprisingly Murder She Said is the only movie in MGM’s series that was actually based upon a Miss Marple novel; later movies either shoehorned the character into another Christie novel or were original works.

Christie was reportedly unhappy with the casting of Margaret Rutherford. In fairness her Miss Marple is nothing like the one in the novels, but she attacks the part with such gusto and good humour that it is hard not to love her in the role. An invention of the movie is Miss Marple’s loyal companion and romantic interest Mr Stringer, played by her real life husband Stringer Davis. This relationship is a nice addition to the story which also serves the practical purpose of allowing Miss Marple to convey some necessary exposition to the audience. 

Excellent support is offered, especially from James Robertson Justice as the bedridden family patriarch and keep an eye out for future Miss Marple Joan Hickson further down the cast.

In its depiction of a quaintly dated post-War Britain, Murder She Said seems both of its time and oddly timeless. Christie purists may carp that too many liberties are taken with the original text and no one would suggest that this is a definitive telling. But to criticise it as such would be kind of missing the point. Murder She Said is enormously entertaining with superb performances from some British acting legends. It is all very silly, but also very funny and with some genuine moments of suspense. An excellent, infectious score by Ron Goodwin adds to the fun.

Frozen II (2019)

Frozen II (Dir: Chris Buck & Jennifer Lee, 2019).

Walt Disney Animation Studios sequel to their original blockbuster Frozen (Chris Buck & Jennifer Lee, 2013).

The events of Frozen II take place roughly three years after those of Frozen. However, the movie takes us further back into Elsa and Anna's past as, through flashbacks, we see the girls' father King Agnarr of Arendelle relating the tale of their grandfather's attempt to form a treaty with a neighbouring tribe in their Enchanted Forest homeland. An ensuing battle results in grandfather's death and discord among the Forest's spirits. Years later Elsa is drawn to the forest by a mysterious voice and becomes embroiled in the ongoing conflict which is threatening the well being of both the Enchanted Forest and Queen Elsa's kingdom of Arendelle

While Frozen II bears the legend "Inspired by Hans Christian Andersen's The Snow Queen, it is nothing like the original fairytale. Neither is it particularly like the original movie, incorporating more references to Nordic myth and legend than the original Frozen.

Reuniting much of the core creative team from the first movie, co-writers and directors Chris Buck and Jennifer Lee have created a movie which never feels like a quick buck cash-in. The animation is stunning, even more so than in the original. Its forest setting and warm autumnal colour palette gives it a distinctly different feel to the cooler blues and whites of  Frozen's icescapes.

The theme of sisterly bonding is still present in what is much more of a two-hander between Elsa and Anna. Olaf, Kristoff and reindeer Sven are present but are largely relegated to co-stars here, with less impact on the movie's outcome. Olaf still has most of the movie's big laughs, however, a highlight being when he recounts the events of the first movie to the confused forest dwellers. 

Returning from the first Frozen is its stellar voice cast; Idina Menzel as Elsa, Kristen Bell as Anna, Jonathan Groff as Kristoff and Josh Gad as Olaf bring warmth to their characters and handle both dialogue and singing with considerable skill. The songs, once again written by Robert Lopez and Kristen Anderson-Lopez, are not as instantly hummable as before, although the 70's power pop influence is hard not to warm to. 

In its attempt to differentiate itself from the first movie, Frozen II does seem to suffer from an overly complex narrative. In this respect the movie falls into the same trap as Disney's other recent sequel Ralph Breaks the Internet (Phil Johnston & Rich Moore, 2018). As with Ralph, there is so much going on in Frozen II that one misses the more economic and ultimately more satisfying simplicity of the original, although Buck and Lee are to be commended for not being content to just churn out the same movie.

Frozen II has proved to be another mega-hit for Disney and already ranks among the all time top earners. Of course, it would never quite have the same cultural impact as Frozen, but so few films have. While the story may be a little over complicated for its own good, it is still a highly impressive, enjoyable movie, much better than audiences may have been expected and continues Walt Disney Animation Studios’ excellent run of features throughout the 2010s.

The Christmas Coal Mine Miracle (1977)

The Christmas Coal Mine Miracle (Dir: Jud Taylor, 1977).

A festive family drama made for US TV.

Set in the mining town of Caufield in 1951, The Christmas Coal Mine Miracle tells the story of coal miners trapped underground on Christmas Eve following an explosion. Centered largely around Matthew Sullivan (Mitchell Ryan), his wife Rachel (Barbara Babcock), their two daughters and prospective son-in-law Johnny (Kurt Russell).

Although claimed by some sources to be based upon a true story, the closing credits read: “The events depicted in this motion picture are fictitious although suggested by the history of mine disasters”. Which particular mine disasters are unclear. I think the movie would have more impact were it based on actual events. Instead what we have with The Christmas Coal Mine Miracle is an intriguing story, although not particularly dynamically told. 

Surprisingly, considering it was made in the era when disaster movies were vogue, the focus of the film is not the explosion in the mine, but the relationships of those affected by it, particularly the women. As a result the movie suffers from being overly reliant on dialogue and a little short on action. Originally broadcast on the NBC network, it has the distinct feel of a Movie of the Week, albeit distinguished by a better than average cast. Top billing is afforded to Mitchell Ryan, but further down the cast are the more familiar names of Kurt Russell, John Carradine and Melissa Gilbert. 

Gilbert, then also appearing as Laura in long running drama Little House on the Prairie (1974-83), receives a "special guest appearance" credit. As the movie’s then most viable star it seems an attempt was made, possibly late in production, to hinge the story on her character. As youngest daughter Kelly, Gilbert narrates the story’s opening, but this has the effect of wrong footing the audience as the rest of the film is not exclusively told from her perspective. Still, she is a cute kid and her appealing performance is probably the movie’s highlight. 

As earnest young man Johnny, Kurt Russell is, well, earnest. In fairness to Russell the role is not especially well fleshed out and seems small potatoes compared to his next project - his Emmy Award nominated performance as Elvis Presley in acclaimed TV movie Elvis (John Carpenter, 1979). Which is kind of an issue with every character; none are particularly well delineated and the audience never gets to know any of them well enough to be as affected by their plight as they should.
  

The Christmas Coal Mine Miracle is no Christmas classic. Were it a true story in the traditional sense, rather than vaguely inspired by historic mining accidents, I feel as if I would have warmed to the story a little more and have more investment in the characters. That said, if you stumble across this movie on daytime TV it is worth a look for the decent performances from its likeable cast. 

The Christmas Tree (1966)

The Christmas Tree (Dir: James Clark, 1966)

Cheap and cheerful Christmas movie from the Children’s Film Foundation. 

Cocky kid Gary (William Burleigh) boasts to friends in a hospital ward that he can secure them a Christmas tree by 6PM on Christmas Eve. Determined to make good his claim, he and his younger siblings Jane (Kate Nicholls) and Sam (Anthony Honour) trek the 30 miles to London’s St Vincent hospital, stolen tree in tow, ill advisedly accepting lifts from strangers and finding themselves in evermore ridiculous situations as the movie progresses. 

Like all CFF productions The Christmas Tree has a certain slapdash appeal. None of the cast seem particularly professional, with the exception of Brian Blessed, the Z Cars actor on familiar ground in a minor role as a police constable. 

Its amateurish charm is actually probably the The Christmas Tree’s greatest asset. What submarines the film is its ludicrous plot involving cantankerous bus conductors, armed robbers and a circus troop. The three waifs, who must rank among the dopiest kids in history, somehow manage to evade parents, police and avoid being shot at by the army as they wander onto a military rifle range. 

It is difficult to think of a movie with less of a grasp on reality. I am sure it entertained young audiences hyped up on sweets and sugary pop at the Saturday Morning Pictures in the 1960s, but viewed today it is quaint and corny and less than thrilling. 

I can’t honestly say I would recommend The Christmas Tree to anyone other than those with an interest in British cinema. Clocking in at just over one hour, it is short enough to watch out of curiosity. It may hold nostalgia value for those who saw it as a child but I can’t see it appealing to kids raised on Star Wars and The Avengers. 

The Parent Trap (1961)

The Parent Trap (Dir: David Swift, 1961). 

Hayley Mills' second movie for Walt Disney is also arguably her best for the studio. Indeed, nearly 60 years after release it remains one of the studio’s most popular and well regarded live action features.

Based upon Erich Kästner’s German language novel 'Das Doppelte Lottchen' (Lisa and Lottie) The Parent Trap tells the story of identical twin sisters Susan and Sharon (both played by Mills) who are separated at birth by their divorced parents. Thirteen years later they meet at summer camp and decided to switch places on their folks, knowing that they would have to meet up again in order to switch them back and hopefully reconcile their romance. So Susan heads to Boston to meet mom (Maureen O'Hara), while Sharon jets off to stay with dad (Brian Keith) at his sprawling California ranch. With unfortunate timing dad is just about to wed gold digging platinum blonde Vicky (Joanna Barnes), with whom he is besotted, forcing the twins to plot ever more elaborate schemes to 'submarine' Vicky and save their parents marriage.

While its plot is far fetched to say the least, the movie is executed with such skill and warmth that disbelief happily takes a vacation. That this was only writer/director David Swift’s second feature film is astonishing, such is the level of expertise in his handling of the script and of the expert performances he elicits from a first rate cast. Maureen O’Hara was never lovelier than she is here and Brian Keith was never more lovably oafish. Of course the real star is Mills in her duel role as the twins. Her deft performance displays genuine charisma and expert comedy timing in what is only her third screen appearance. She is backed by a top quality supporting cast which includes acting legends Charles Ruggles and Una Merkel. Joanna Barnes, previously seen in Spartacus (Stanley Kubrick, 1960), is so good in her role of vixen Vicky that it is surprising she did not become a much bigger star. 

The Parent Trap also looks fabulous. Save for the odd bit of obvious back project, the pre-digital effects are excellent; the movie would be far less effective if they were not. The trick photography that allows two Hayleys to appear on screen together is astonishing and completely believable. It is all beautifully photographed by cinematographer Lucien Ballads and its 1960s fashions and Mid Century Modern interiors contribute to make this one of the best looking and most stylish movies in the Disney catalogue. 

Perhaps The Parent Trap’s greatest achievement is that it works as a sophisticated romcom for adult audiences just as well as it does a slapstick comedy for kids. The movie is so affectionate, so funny and so expertly performed that I cannot offer any genuine criticisms of it. Perhaps, at 2 hours plus, it is a little on the lengthy side; an extended camp-out is merely stalling time before we reach the, by now, inevitable conclusion. But honestly, it is all so funny that it never once feels as if it has overstayed its welcome. The whole thing is topped off with a handful of songs from the legendary Richard and Robert Sherman, including the hit single ‘Let’s Get Together’. 

As unabashed as my love for The Parent Trap is, I genuinely cannot think of a more perfect movie. It is, for me, the best of the Disney comedies and one of the studio’s greatest achievements in live action movies, rivalled only by 20,000 Leagues Under the Sea (Richard Fleischer, 1954) and the mighty Mary Poppins (Robert Stevenson, 1964). 

A belated sequel The Parent Trap 2 (Ron Maxwell, 1986), made its television debut over two decades later and an updated remake, also titled The Parent Trap (Nancy Meyers, 1998) was a hit with audiences a decade after that. A reboot for the Disney+ streaming service is also mooted. Yet, as is often the case, the original is the best. If you have never seen The Parent Trap or haven’t seen in a while, I highly recommend giving it a watch. It is a comedy gem whose warmth and charm is hard to resist! 

Star Wars: The Rise of Skywalker (2019)

Star Wars: The Rise of Skywalker (Dir: J.J. Abrams, 2019).

I am writing this review assuming that anyone reading it will already know a little about the Star Wars universe, but here’s a little recap, just for fun! 

The first of George Lucas’ sci-fi/fantasy epics, released in 1977, borrowed liberally from classic Hollywood movies to became a cross generational blockbuster; something that seemed simultaneously bang up to date and appealingly old fashioned. Spawning sequel, prequels, spin-offs, theme park attractions, novels, comics and, of course, toys, Star Wars became a multimedia phenomenon, the like of which has not been equalled before or since. This latest movie The Rise of Skywalker is the final instalment of the nine movie strong (not including spin-offs) saga. 

I am not too hot at writing synopses at the best of times and also don’t want to give anything away, so I will make this as brief and spoiler free as possible: In this, Episode IX, the Resistance are, once again, up against the First Order. Rey, meanwhile has some serious soul searching to do and some pretty important decisions to make. Which is kind of it, although a lot more happens besides! 

Who would have guessed the final Star Wars movie would prove so divisive? Fandom can be a funny thing. As a Stars Wars fan I fall somewhere in between casual and obsessive. My favourite is the original Star Wars (George Lucas, 1977), later clunkily subtitled Episode IV: A New Hope. I enjoyed both The Force Awakens and The Last Jedi, I would happily sit through the prequels if I had nothing better to do and I think the Ewoks movies have a goofy charm. I genuinely enjoy immersing myself in the Star Wars universe and am happy to report that I enjoyed this final instalment of the saga that began 42 years earlier. 

A bit more of a romp than the preceding two instalments, co-writer/director J.J. Abrams has fashioned a rollercoaster adventure that barely stops for breath. Its more poignant and emotional moments, of which there are many, are offset by the humour that was sadly missing in the prequels and by a general good natured atmosphere. It is an adventure movie that just wants to be loved and, while it does not quite rank with the best of the series, I did indeed love it! 

Special effects are, as you would expect, spectacular. There are enough twists and turns in the plot to keep you on the edge of your seat, while longtime fans will appreciate the nods to previous movies including some welcome cameos of characters past. 

Key to the movies enjoyment is the game playing of its likeable cast, most notably Oscar Isaacs’ Poe Dameron; his cheeky-chappie-Han-Solo-ish persona comes to the fore more here than in previous movies and for me, Isaacs is the real standout of the newer gang members. Perhaps as a consequence, Finn seems a little underwritten. While John Boyega has impressed in previous entries, here, through no fault of his own, is left with seemingly little to do. As Rey, Daisy Ridley spends much of the movie in a sort of heroic turmoil, but this she does excellently! While, over the course of three movies Adam Driver has pretty much perfected his mean and moody bit as bad’un Kylo Ren. 

Scenes with Princess Leia Organa seem a little shoehorned in, perhaps inevitably, due to Carrie Fisher’s sad passing shortly after the release of The Last Jedi. Utilising outtakes from the previous movies, her one or two lines of dialogue here and there seem a little stilted. That said, I think her inclusion was justified and it provides a fitting tribute to the actress and the character than fans would otherwise have been denied. 

So we conclude the Star Wars nineology (or whatever) with a movie which, while perhaps not among the best of the series is still a mostly satisfying end to the franchise. Those fans who come to Star Wars first and foremost to be entertained should not be disappointed. Oh yeah, it’s still much better than any of those prequels. 

Klaus (2019)

Klaus (Dir: Sergio Pablos, 2019)

Just when you think you have seen all the Santa origin stories you care to, along comes Klaus. Netflix’s first original animated feature film, Klaus made its debut on the streaming service in November 2019; an early gift for the festive season. Produced by Sergio Pablos Animation Studios, it is the directorial debut of studio head Pablos, the co-creator of Universal's highly lucrative Despicable Me franchise.

Incompetent postman Jesper (Jason Schwartzman) is sent by his Postmaster General father to establish a post office in the remote northern isle of Smeerensburg. On arrival he finds a divided community, engaged in a bitter feud, who barely speak to each other, let alone send mail. Determined to succeed he seeks out each town member to extol the virtues of the postal service, including Klaus (J K Simmons), a mysterious, solitary figure with a workshop full of toys. The pair team up to distribute the toys to the unhappy Smeerensburg children, creating some new Christmas traditions along the way.

Klaus is as warm and heartfelt as you would expect a Christmas movie to be. Sure, it is sentimental, but never slushy and with genuine pathos in Klaus' backstory. Its distinctive visual style and expressionistic use of colour help make it one of the most visually pleasing animated features in recent years; the 2D animation combines the slickness that audiences would expect of a modern animated feature with a cartoony style reminiscent of the Mid Century Modern stylings of the UPA animation studios. 

While Klaus does cover some similar ground to the Rankin/Bass TV favourite Santa Claus Is Comin’ to Town (Arthur Rankin Jr & Jules Bass, 1970), in all other respects it is easily the most imaginative take on St Nick's early years for sometime. 

In a year where cinema release schedules have been dominated by animated sequels, first time director Sergio Pablos has crafted a movie which feels fresh and original, yet reassuringly tradition. It is arguably the most satisfying Christmas movie of the decade and seems destined to become a holiday classic. 

A Flintstones Christmas Carol (1994)

A Flintstones Christmas Carol (Dir: Joanna Romersa, 1994).

Geological puns abound, as Fred Flintstone stars as Ebonezer Scrooge against Barney Rubble’s Bob Cragic in this modern Stone Age retelling of Charles Dickens’ Christmas classic. 

The Flintstones is, of course the enormously successful animated TV sitcom from Hanna-Barbera which, prior to The Simpsons (1989 - present) was television’s longest running prime time cartoon series, originally airing for 6 seasons between 1960 and 1966. That this movie was made 30 years after the heyday of the show demonstrates the continued enduring popularity of the franchise. 

Rather than a straight adaptation of Dickens’ familiar tale of festive redemption, A Flintstones Christmas Carol takes a tip from Mr Magoo’s Christmas Carol (Abe Leviton, 1962) and presents the story as a play within a story. So, running parallel to the events of the Bedrock Community Players performance of A Christmas Carol, we have the story of Fred, so engrossed in his role of Scrooge that he neglects his family duties until the lines between he and Ebonezer begin to blur. If you can buy that a group of cavemen are celebrating Christmas a few millions years before the birth of Christ, than you will have no trouble accepting them performing in a version of a story first published in 1843. 

Casting The Flintstones in the roles of Dickens’ characters is a nice idea. Not a particularly original idea, but I can see the appeal. The backstage story which runs alongside it is less engaging and the two strands work against each other to make for a somewhat choppy narrative. It isn’t a bad movie; made for US TV, the standard of animation is a shade better than normal Saturday morning fare and there is undeniable nostalgic value for those of a certain age. Familiar vocal work from Henry Corden (Fred) Jean Vanderpyl (Wilma) and Hanna-Barbera stalwart Don Messick (Bamm Bamm) adds to the fun. 

Yet what is appealing in a 25 minute TV show is not quite as fun when stretched to nearly three times that length. While I enjoy The Flintstones on TV, I found A Flintstone Christmas Carol a little bit of a chore to watch come the halfway mark. Still, while it is a little disappointing in the story department, its colourful animation is above average and it does provides some mild chuckles. However, I think a straight version of the tale would have been better and can’t help but feel this somewhat of an opportunity missed. Longtime fans will probably get a kick out of the movie, but it’s not quite the ‘gay old time’ it might have been. 

Beyond Tomorrow aka Beyond Christmas (1940)

Beyond Tomorrow aka Beyond Christmas (Dir: A Edward Sutherland, 1940)

My quest for obscure vintage Christmas movies has arrived at Beyond Tomorrow, a curious little movie with a somewhat convoluted plot.

A trio of wealthy businessmen (Harry Carey, C Aubrey Smith and Charles Winninger) play matchmaker to a teacher (Jean Parker) and a misplaced cowboy (Richard Carlson). When the three are tragically killed in a plane crash they return as ghosts to watch over the couple whom they have left a significant inheritance.

Beyond Tomorrow is one of a handful of Hollywood movies of the era to deal with themes of spirituality and guardian angels; notable examples include Here Comes Mr Jordan (Alexander Hall, 1941) and It's a Wonderful Life (Frank Capra, 1946). Unfortunately this movie is nowhere near the caliber of those classics.

Although relatively short, at roughly 80 minutes, I found it a chore to watch. It's early scenes, centered around the holiday season are easily its best. However the film soon descends into hollow sentimentality and mawkishness, with Adele Comandini's screenplay lacking the dramatic strength to overcome the corny and frankly odd premise. The 'B' movie is also lacking star talent, although Richard Carlson later would make an impression in Universal's late period monster flick Creature from the Black Lagoon (Jack Arnold, 1954). A bigger name would certainly have lent the movie a little more cache but, to be honest, I think it would do little to help either the pedestrian script or A Edward Sutherland's workmanlike direction. 

I also feel this movie was slightly miss sold, as only its first third is festive. In a shameless yuletide cash grab the movie has latterly been marketed as Beyond Christmas. Cynical though this may be, the title is actually more accurate as much of the feature does, indeed, take place after Christmas!

I am a sucker for a decent Christmas film and Golden Age Hollywood is my favourite era of filmmaking, but this turkey of a movie did nothing for me. By all means worth a watch for the curious. Just don't expect it to fill you with Christmas joy. 

Turkey Hollow (2015)

Turkey Hollow (Dir: Kirk R Thatcher, 2015).

Jim Henson’s Turkey Hollow, to give the movie its full on-screen title, is based upon a Henson project unrealised during the Muppet master’s lifetime. 

As originally co-written by Henson and Jerry Juhl, The Musical Monsters of Turkey Hollow, would presumably have taken the form of a holiday special along the lines of Emmet Otter’s Jugband Christmas (Jim Henson, 1977) and the Easter special The Tale of the Bunny Picnic (Jim Henson & David G Hiller, 1986).  Instead Turkey Hollow is a feature length TV movie combining puppets and humans, produced by The Jim Henson Company for the Lifetime Network.

Following their parents divorce, teenagers Tim (Graham Verchere) and Annie (Genevieve Buechner) are forced to spend the Thanksgiving holiday with their Aunt Cly (Mary Steenburgen) in the rustic town of Turkey Hollow. Learning of a local 10 foot mythical monster The Howling Hoodoo, Tim sets out to find the beast. Instead he encounters the friendly forest monsters Squonk, Zorp, Burble and Thring as well as uncovering the illegal activities of a neighbouring turkey farmer, who poses a threat to his Aunt's farm. 

As dictated by its made-for-TV budget, Turkey Hollow is not as lavish as Henson's fantasy epics The Dark Crystal (J Henson & Frank Oz, 1982) or Labyrinth (J. Henson, 1986). Neither is it the Muppet-fest you may have hoped for. The puppets are used fairly sporadically and serve the otherwise human led story. However, when they do appear, the puppets, as you would expect, are excellent. Their time on screen is the undoubted highlight of the low key movie and the foursome are as appealing as any other monsters to emerge from the Henson stable. The humans almost take a backseat whenever the puppets appear, although performances are solid throughout, especially the always dependable Mary Steenburgen. 

The plot of Turkey Hollow is simple and not particularly original; the movie equivalent of a light snack rather than a Thanksgiving feast, with an unnecessary narration by Chris 'Ludacris' Bridges as the stuffing. Nothing against Mr Bridges; he is personable enough in his role of narrator and wears some lovely knitwear. However, these breaks in the narrative are merely exposition where none is needed. Presumably the lead in and outs for commercial breaks during TV airings, these segments seem intrusive when the feature is viewed on DVD without intermissions. A romantic subplot between Aunt Cly and local Sheriff Grover (Reese Alexander) feels both under developed and slightly out of place and the one dimensional bad guys will only seem like a genuine threat to the youngest audience members. Otherwise the movie is a mostly endearing tale which, while not approaching the genius high standards of his best work, does nothing to tarnish the legacy of Mr Henson.

The Thanksgiving special is a far less common beast than the Christmas or Easter special. As such, this movie is a nice addition to that fairly exclusive club and, due to scarcity, is ultimately one the better examples of the genre. Turkey Hollow may not quite rank as a holiday classic, but it is a sweetly old fashioned treat and one you should find merits re-visiting during the festive season.