Christmas Eve

"Christmas Eve" had an original idea for a holiday film. It has some far out subplots that would need a great screenplay to make it work. But unfortunately, the screenplay is quite weak. So, instead of a solid plot, this film is four short stories loosely pieced together. Very rich Aunt Matilda (Ann Harding made up as an octogenarian) is about to lose control of her estate to a conniving nephew, Phillip Hastings (played by Reginald Denny). She asks Dr. Bunyan (played by Douglass Dumbrille) and Judge Alston (played by Clarence Kolb) to hold off on any decision about her eccentricity and ability to manage her affairs. She asks them to be sure to come to her house on Christmas Eve, where they will meet her three "sons."

The three were orphans whom she took in and raised. None of them would sponge off her, so they set out on their own after school. There's no effort to have these guys any younger, so they all look to be their actual ages – around 45. Aunt Matilda hasn't heard from a single one of them for years, but now she knows they'll come to her rescue if they know she needs their help. From there, the movie segues into sub-plots with each of the three "sons." In between each one, we go back to Aunt Matilda and her private eye's report on the previous son.

The first is Michael (played by George Brent), with his girlfriend, Ann Nelson (played by Joan Blondell). The next is Mario Torio (played by George Raft), and the last is Johnny (played by Randolph Scott). Some other supporting cast contribute – Virginia Field plays Claire, Dennis Hoey plays Williams the butler, Dolores Moran plays Jean Bradford, John Litel plays an FBI agent, and Joe Sawyer plays Gimlet, a private detective.

The three sons' subplots are a little wacky in themselves. They involve dodging the FBI, a sweetheart who was a darling of a top Nazi and who ran off with his millions, and an undercover social welfare agent trying to unearth a black market for adoption of kidnapped babies.

About the only reason to watch this film is to see the large cast of one- time big name actors along with many other longtime supporting actors. There isn't much of a Christmas theme beyond the notion that everything is supposed to come together on Christmas Eve. As it turns out, Aunt Matilda was a shrewd old cookie who knew more than anyone suspected. But, it's hard to imagine why none of her three adopted sons wouldn't at least have sent her a Christmas card or note once in a while over so many years.

There's nothing special about this film, and none of the performers shine. It's certainly not something to recommend for the holidays.

The perennial title in itself but especially the splendid cast rounded up for this Christmas movie should have earned it durability but, instead, its genuine oddity has ensured its obscurity; in fact, it was later retitled as SINNERS' HOLIDAY for theatrical reissue purposes (despite there having already been a non-festive 1930 film featuring James Cagney and Joan Blondell by that name!) and, much later, another unrelated (and made-for-TV) one called Christmas EVE in 1986 that was Loretta Young's much-heralded return in front of the cameras!!

There are three male leads in the film – George Brent, George Raft and Randolph Scott – playing the three adopted sons of eccentric millionairess Ann Harding (a weird casting choice if ever there was one, seeing how she is younger in real life than her on screen off-springs and, consequently, sports heavy make-up to appear older!) who is on the point of being declared insane by duplicitous relative/guardian Reginald Denny (who while outwardly concerned about Harding's reckless philanthropic spending is actually interested in appeasing his own creditors). Harding (dutifully waited upon by an unrecognizable Dennis Hoey as her butler!) assures visiting Judge Clarence Kolb that this Christmas Eve at least one of her wayward sons will come to her rescue and the film then episodically trails the path (via Harding's investigating detective Joe Sawyer) taken in life by each individual before reaching the inevitable all-inclusive happy ending.

And so it is that we meet up with playboy Brent, who is on the point of hooking up with an heiress – an attachment he badly needs in order to cover up a run of $75,000 in fraudulent cheques that are currently doing the rounds about town – but true love intervenes in the shape of his ditzy friend Joan Blondell!; although this was a plot line worthy of Preston Sturges in his prime, the heavy-handed treatment it receives here renders it the least effective segment of the lot. Next up is George Raft's lording it over in South America and stepping on the toes of fugitive Nazi Konstantin Shayne in the process – not least because of his attachment to the latter's feminine associate, Virginia Field!; the violence and downbeat nature (the latter is felled by a bullet and Raft is eventually apprehended by FBI agent John Litel) of this episode jars considerably with the Capra-esque sentimentality of the main narrative strain but is nonetheless interesting for that. It is worth noting here that director Marin had just directed Raft in the noir NOCTURNE (1946; which I also own but have yet to watch) and that he had also helmed the 1938 MGM version of A Christmas CAROL! The third and last part is the corniest but also the most enjoyable as we watch second-rate rodeo rider Randolph Scott getting mixed up in Douglas Dumbrille's adoption racket as he is convinced by attractive undercover agent Dolores Moran (in her first film for future husband, producer Benedict Bogeaus) to pose as a married couple looking to acquire some kids! The eventual confrontation between the two parties earns the film its biggest laugh when Scott, gun firmly in hand, invites Dumbrille to "Raise (his) arms to the perpendicular"!

What's a mother to do? If she's the seriously rich, eccentric but still shrewd Mathilda Reed, now in her late seventies or early eighties and living alone with servants in a huge mid-town Manhattan mansion, and her untrustworthy nephew attempts to gain control of her fortune by having her declared incompetent, the answer is simple. She'll call upon her three sons. The trouble is, she hasn't heard from the grown men in years. The three came to her as wards. She adopted them and raised them. But when they were grown, each decided to leave and make his own way. They didn't want to be a burden or to live off their mother's fortune. Mathilda Reed (Ann Harding) may be a wonderful old woman, but her sons are something else.

There's Michael (George Brent), a high-living ne'er-do-well who finances his expensive tastes by kiting checks and who hopes to marry a rich woman. His girlfriend, Ann (Joan Blondell), is starting to get impatient.

There's Jonathan (Randolph Scott), who went west and now is a broken down but charming rodeo rider who sometimes has to pawn his saddle.

And there's Mario (George Raft), a fugitive from the law who went to South America and prospered as a shady nightclub owner. He can't return to the States without the FBI picking him up.

Mathilda Reed is a fighter. She goes public with a press conference, hoping her sons, wherever they are, will hear about her need for them. She hires a private detective to try and locate them. They have to return by Christmas Eve to block Phillip's plans.

Will the three men make it? Will they even try? Well, of course they will. So we spend most of our time in three short stories. We watch how Michael, amusing and unreliable, gets himself under Phillip's thumb with those bad checks and then starts to get himself out. We watch how Jonathan, back in New York, finds himself involved in a phony adoption scam and winds up with three baby girls and a great-looking girlfriend. We also hear a lot of Hollywood home-on-the-range dialogue...all those "heifers." We see Mario take on a Nazi fugitive, with fistfights and gunfights, before he leaves for New York with the FBI right behind him. And on Christmas Eve, with snow drifting down, with the mansion alight, with the tree gorgeously decorated and the Christmas punch made, Mathilda Reed, her nephew and the judge sit waiting. Sure enough, first Michael and Ann arrive. Then Jonathan and his three babies. And last comes Mario, with an FBI man right behind. We learn everything is going to turn out all right, even for Mario. The "crime" he left the States over was really committed by another. Phillip's scheme is dealt with and so is Phillip. Most importantly, we learn that the idea of family, played up with a little sentimentality and a sometimes serious but often amusing screenplay, can get the job done.

The movie is a little corny at times, especially with Ann Harding, younger than each of the actors playing her sons, doing the trembling and wise old lady bit. Her makeup would convince only the oldest residents of an assisted living center. Raft, Scott and Brent each do fine jobs. Raft, of course, is Raft, and his story is the most serious. Scott does a charming turn as the rodeo cowboy who winds up with an instant family. And George Brent, who was even better as a skilled farceur and light comedian than he was as an all-purpose leading man (watch him in 1947's Out of the Blue), is a joy to watch. All three were at turning points in their careers. This was Scott's last non-Western movie. Brent was fading fast as a star. Raft was starting to make a series of poor movies. Still, for me the movie works emotionally as the story of how three very different men drop whatever they're doing, for some at great risk, to return to help the woman who raised them and gave them the values that they have. When the three start to greet each other with pleasure in their mother's mansion on Christmas Eve, maybe it's just good acting but they look like they mean it.

This film is absolutely charming. It is fun, keeps you in a bit of suspense and the acting is wonderful. The story is really three in one. Three adopted son's must come home before midnight on Christmas Eve in order to save their mother's home. George Raft is spectacular as the gangster/misfit son and Ann Harding does a great job as the aged mother although that is one roll that may have been played better by someone who was actually elderly. Harding was only in her forties and at times her performance was a bit flawed. Randolph Scott is perfect in his cowpoke roll and Brent is perfect as the playboy. Add in Joan Blondell and Virginia Field and the cast is really complete. The chemistry and sparks between Scott and Field's is so cute. Blondell does what she does best as the blond bombshell. The cast overall is superb and you have the joy of watching three stories unfold. This movie is wonderful to watch any time of the year but especially at Christmas. The true meaning of Christmas is shared in that family is more important than self.

I was excited to see this film due to its cast and a premise that sounds ready-made for a great Christmas story. The movie's plot is that the greedy nephew of a rich old lady (Ann Harding) wants her declared mentally incompetent so he can have complete control of her fortune. The old lady, however, wants to leave her money to three adopted sons (George Brent, George Raft, Randolph Scott) she raised but hasn't seen in years. A judge postpones his decision until Christmas Eve, when she says her three sons will return to her. The bulk of the movie deals with telling the stories of the three sons, who have all grown up to be less-than-reputable men.

Sadly, this isn't a great film. There's many reasons for this. For starters, why is this old lady played by a 45 year-old Ann Harding in bad makeup? There was no shortage of fine elderly actresses in Hollywood at the time. Any one of them bringing some authenticity and warmth to the role would have helped the movie quite a bit, instead of Harding's doddering portrayal. Also, the three stories of the sons aren't great and seem oddly disjointed. Raft's dark story in particular stands out against the other two stories, which are much lighter in tone. It feels like they took three story ideas for other movies and cobbled them together to make this.

Lastly, the main reason I think this fails is that its ultimate point, that the boys love their mother so much they return to help her despite any trouble it may cause them, falls flat when you stop and consider that when she dies they become rich!!! I mean who wouldn't show up to help the old crow if there was a payday at the end of it? Look, I know it has a great cast but they can only do so much. It's got quite a bit wrong with it and I just scratched the surface. The biggest problem really is that, for a Christmas movie, it doesn't really give me a Christmasy feeling. See it for the curiosity factor and the assembled talent. But keep expectations low.