A Christmas Carol

In the Nineteenth Century, in London, the bitter, greedy and cranky Ebenezer Scrooge (Reginald Owen) hates Christmas and people. He runs his business exploiting his employee Bob Cratchit (Gene Lockhart) and spends unfriendly treatment to his nephew Fred (Barry MacKay) and acquaintances.

In the Christmas Eve, he is visited by the doomed chained ghost of his former partner Jacob Marley (Leo G. Carroll), who died seven years ago and tells him that three spirits would visit him that night. The first one, the spirit of past Christmas, recalls his happy childhood and coming of age; the spirit of the present Christmas shows him the poor situation of Bob's family and the happiness of Fred and his fiancée Bessy; and the spirit of future Christmas shows his fate. Scrooge finds that life is good and finds redemption changing thoughts about Christmas, Bob, tiny Tim, his nephew and people in general.

"A Christmas Carol" is one of the most beautiful Christmas tales in the cinema. I do not recall how many adaptations of one of the most known Charles Dickens' short story I have seen but this 1938 is also wonderful. I do not have much more to say but recommend this magnificent family entertainment. My vote is eight.

Title (Brazil): "Um Conto de Natal" ("A Christmas Tale")

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.

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.

This is one of the fastest films ever to reach the screen. It started shooting in October and was in theaters in December. This production however is the standard in which all other versions since have copied.

This was the first production to have the "Spirits" come in one night! It also fleshed out Bob Cratchit family more. This is also one of those film that the older it gets the better the film becomes.

In case you don't know the story "Scrooge" is a cranky old man. He hates Christmas and people in general. He has more in life than the people that surround him and yet he is poor.

This 1938 film is in black and white and that seems like a huge asset. The cast is perfect!

If you have never seen this version then what are you waiting for?

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."