Noite de Natal

There's just something about this one that, while not close to being the most faithful it nonetheless remains my favorite of all the many film versions of Dicken's Christmas Carol.

I guess it's those old classic MGM production values. It's Gene Lockhart's sometimes cowed, sometimes impish, sometimes heroic & joy-filled Bob Cratchett.

And it's definitely the way Reginald Owen turns Scrooge around far earlier than the other productions. I get so tired of seeing that rotten old Scrooge stay rotten until ten minutes before the film ends, when, poof, he sees the light & is miraculously transformed form the meanest man in the world to the nicest. Here, Owen's Scrooge begins to turn fairly quick, and I enjoy that - it really makes him so much easier to root for.

Every time I see it I'm reminded about how marvelous & truly important Franz Waxman's score is to this version. It's delightfully bouncy & upbeat when it's called for & dark forboding during the grim scenes. It's wonderful; dead-on perfect.

For me, it's far and away the most entertaining version. Sit back for its brief 69 minutes, watch and enjoy.

I've seen this along with the 1951 version on TV every Christmas and although the '51 version is preferable this is still a very good movie in it's own telling of the Dicken's classic. Gene Lockhart as Bob Cratchit and Reginald Owen as Ebenezer Scrooge are both great and Leo G. Carrol does a good ghost of Jacob Marley. Lionel Braham, Ann Rutherford and D'Arcy Corrigan turn in good performances as the ghosts of Christmas past, present and future. MGM Cinematographer Sidney Wagner does a wonderful job with the photography. Cedric Gibbons is the Art Director here. He had a contract made in 1924 that his name would appear on every MGM movie made in the United States so until 1956 his name was on 1500 movies even if he was just head of the Production department and didn't actually work on a film. He did work on 150 films himself during that time and this is one of them. He's the guy who designed the Oscar and was nominated for 39 of them and won 11. Longtime MGM set Director Edwin Willis designed the sets here. This is Director Edwin Martin's best film in a career of largely forgettable films. This is a good Christmas film and some prefer it to the more popular 1951 version and it may be more stylish and charming in it's big studio MGM way but I prefer the '51 British version with Alistair Sim as Scrooge. I do really like this too and would give it an 8.5 out of 10.

This Hollywood version of the Dickens Christmas classic is overshadowed by a later British version featuring Alastair Sim. The British film is more realistic, and captures in its incidentals more of Dickens' radical spirit than this more stately American film, which as directed by the able Edward Martin, is done on a more modest scale. I find the American film cozier and warmer.

Reginald Owen is a less flamboyant Scrooge than Sim, which tends to make one concentrate more on the story. The movie was made on a medium budget, and it shows. However, this is not a bad thing, for while the later version gives has a dank, drafty Victorian mood,--one can almost feel the winter wind,--this one benefits enormously from its hearth-like intimacy. It's a very fine movie in its own right, with a mood all its own.

We are tremendous enthusiasts of A Christmas Carol in our household and watch virtually all the versions each Christmas, including the modern 1984 George C. Scott and the 1999 Patrick Stewart. Our overall favorite, however, is the 1951 black & white classic with Alastair Sim, who absolutely IS Ebeneezer Scrooge, his conversion ringing the truest. (See my comments on these other films, if interested) This older 1938 version makes a delightful story with a fine, though Hollywood generated, atmosphere. Of course one could never expect in those days to see all the location filming or special effects available today.

Reginald Owen, with his stooped figure and awkward gait, makes a likely looking Scrooge. My main problem with this movie is that he simply repents far too early. Before the Spirit of Christmas Past has taken leave, this Scrooge regrets his past miserliness and is ready to give generously & make merry. What is the point of the other two Spirits?

In addition to Scrooge's totally premature conversion, however, this movie takes far too many liberties with the novel. To name but a few... First, during Marley's ghostly visit, Scrooge summons to his chambers a trio of police officers from the street below his window. Not only is this unfaithful to the book, but totally destroys the ghostly, eerie, haunted atmosphere of the spectre's visit and poor Scrooge's resulting terror.

This adaptation makes no mention whatsoever of the young apprentice Scrooge's sweetheart, Belle, or his tragically failed romance. It does depict his sister, Fan, as younger, in keeping with the novel ...unlike most versions, which erroneously portray her as older, and claim that Scrooge's mother died in childbirth when he was born. However, Fan is, frankly, an annoying little chatterbox here!

The nephew, Fred, is supposed to be married, but in this tale he is engaged to Bess, their marriage apparently contingent on an improvement in his financial prospects. Lots of fabricated scenes, with the pair sliding in front of a church. However, I can forgive all this as Fred is wonderfully jolly & hearty, true to the book. In fact, he's one of the best Freds.

Bob Cratchit is jolly & likable but a wee bit too plump for the role of the poor clerk! Also, there's a fabricated story here in which Scrooge sacks Bob altogether. Tiny Tim is cute but far too old for the role; he's practically as tall as his father. Mrs. Cratchit is convincing, except that she is actually the one who proposes a toast to Scrooge after their Christmas dinner...quite the opposite of the novel's Mrs. Cratchit, who must be coaxed and cajoled by Bob before deigning to lift her glass to the health of her long-suffering husband's oppressive, stingy employer. That being said, otherwise it's one of the better versions of the Cratchit family's dinner, the goose & pudding scenes all beautifully done.

The worst offense is a complete elimination of the 'morning after Christmas' office scene, in which Scrooge normally shows his newfound benevolence to the flabbergasted Bob. This is usually my favorite scene in the entire movie. In this version, Scrooge actually delivers his Christmas turkey to the Cratchits personally himself on Christmas Day, with nephew, Fred, and his fiancée, Bess, both in tow.

However, the Spirits are well depicted, Christmas Past a beautiful & ethereal young lady, Christmas Present a hearty & benevolent giant (who sprinkles from his torch the essence of Christmas cheer five times distilled), and Christmas Yet To Come the typical darkly shrouded & foreboding figure. It's all well intended and difficult to really ruin this wonderful story. For all its omissions, embellishments, and deviations, it still makes for entertaining and heartwarming holiday viewing.

More that sixty years after it was made, MGM's 1938 version of "A Christmas Carol" still ranks as one of the best adaptations of the Dickens classic ever.

First, there's that terrific cast. Lionel Barrymore was to have played Ebeneezer Scrooge, when the accident that confined him to a wheelchair prevented it. Reginald Owen, whose career in US films alone spanned more than 40 years, was given the part, and, if not as vivid a Scrooge as Alistair Sim, he is more than up to the task. Terry Kilburn (The little boy who said "Goodbye, Mr. Chips!" the following year) goes perhaps a bit overboard with the cute stuff as Tiny Tim, but at least he tries. Gene and Kathleen Lockhart (And daughter June, making her film debut at 12) make as good a pair of Cratchits as you will ever see, with Gene Lockhart underplaying more than was usually his wont. Barry McKay and Lynne Carver (The latter perhaps best remembered as "Dr. Kildare's" girlfriend during the '40's) add just the right spirit as Scrooge's nephew, Fred, and his fiancee, respectively. And, speaking of spirits, there's Leo G. Carroll as probably the out-and-out spookiest Marley's Ghost there ever was, and Ann Rutherford (That's Polly Benedict to you "Andy Hardy" fans!) as probably the loveliest Ghost of Christmas Past.

Atmospherically, the movie is as comfortable and heartwarming as an old Christmas card. As a director, Edwin L. Marin was, frankly, a hack, and, as such, usually handed a lot of forgettable "B" properties at MGM. With "Christmas Carol," though, he redeems himself. One wonders, though, if executive producer Joseph L. Manckiewicz wasn't responsible for at least some of the directing chores, as well. Hugo Butler's screenplay captures the feel of it all perfectly, and Franz Waxman's score is one of his best.

A rare treat all around. Don't miss it. But do not, under any circumstances, see the colorized version. The black-and-white play of light and shadow in this film is essential to its' atmosphere.

Incidentally, there's a substantial article, including an interview with June Lockhart, on this film in the book "AMC Presents the Great Christmas Movies."