*SPOILER WARNING*
4 out of 5 shovels
The film opens in a subdued manner with the camera zooming in on a pristine copy of ‘A Christmas Carol’, echoing the opening
sequence of Disney’s ‘Sleeping Beauty’ and possibly suggesting some characteristics of a fairy tale (indeed, the elements of morality, extreme conditions, encouragement of values and a happy ending all feature).In what can only be described as a nauseating roller-coaster of a ride, the camera swoops through Victorian London at such velocity I was sure I should have been wearing a seatbelt. The animation at this point alone was breathtaking and set the tone for the remainder of the film. The vibrant colours of the blue sky, pure snow and creamy stonework are contrasted with the billowing toxic smoke of the workhouses. We are guided through affluent streets and poor alleyways, showing every class and form of life that made up a London now in the past, before arriving at an undertaker; dank and cold. Here we meet Scrooge, the heroic anti-hero, who has just identified the deceased as his business partner, Jacob Marley. Speaking only when needed and skimping on pleasantries, Scrooge swipes the tuppence resting upon Marley’s closed eyes and departs.
The story makes a leap to ‘seven
Christmas Eves later’ where Scrooge and his clerk, Bob Cratchit, are grafting until the last possible hour. The silence and the cold, both from the season and from Scrooge, are palpable until a visitor in the form of Scrooge’s nephew, Fred, bounds through the door. Fred injects some much needed humanity, warmth and cheer and although he may seem as though he’s OD’d on uppers, his merriment is the perfect contrast to Scrooge’s miserliness. That evening Scrooge leaves for home, failing to acknowledge the Christmas cheer around him. Scrooge’s vast mansion looks like something straight out of a low-rent gothic horror; dark, imposing, ringed with a wall and creaky iron gates. It’s symbolic of Scrooge’s character and personality; isolated and unwelcoming. Before he enters the house, the door knocker morphs into Marley, frightening Scrooge and sends him tumbling down the steps. Pulling himself back to his feet, he sees the wrought iron door knocker once more and this is the first sense we get that there is something unsettling in Scrooge’s mind. Indoors, Scrooge’s frugality is still apparent; we get glimpses of the house which is mostly bare save for one upstairs room which is basically furnished. Although, one could argue that the interior is representative of Scrooge’s psyche and this becomes more evident as the film progresses: shut-up rooms representative of memories he wishes to forget; and an exaggerated lengthy staircase that Scrooge takes him time to conquer suggesting that elements of his nature are much bigger than he can cope with.
Over supper Scrooge receives a visitor in the form of Marley’s spirit. The apparition serves as a warning, highlighting to Scrooge what he could potentially become. He advises of the three hauntings that are yet to come to Scrooge and his chance of redemption, something that Marley never had as he exits via the window to his eternally restless purgatory.
As Marley warned,
Scrooge is first visited by the Ghost of Christmas Past; an apparition reminiscent of a candle. Christmas Past drags Scrooge and the audience on another fairground-esque ride out of London and to a quintessential English village preparing for Christmas. Here we get a glimpse of Scrooge’s past and events which have caused him to become the resentful soul that he now is. We’re saddened as we observe a young Scrooge, alone, solemnly signing a Latin carol at boarding school, yet cheered when his younger and much-loved sister comes to take him home. In defence of Scrooge, the ostracism inflicted upon him by his father is one of the reason Scrooge has become the bitter character we meet at the start. In addition we experience Scrooge’s joy as he participates in dances; sense his gentleness as he falls in love. The youthful Scrooge is more a resemblance, in appearance and temperament, of Fred. However, we are also shown where the cracks that are already in place begin to fissure more deeply; Belle leaves him when she realises money interests him more than her, and how she found happiness with another man. Clearly finding this too much, Scrooge extinguishes the ghost, and also the memories. We are fired with Scrooge up into the atmosphere before he crashes and ‘wakes’ in reality; he’s back in the bedroom, leaving one to wonder if he actually left – another point which strengthens as the film progresses.
The Ghost of Christmas Present is the second of the three spirits to appear; a larger-than-life character whose appearance echoes Father Christmas, with his flowing beard and robes. Christmas Present takes Scrooge around London, firstly to Fred’s house then to Bob Cratchit, and also serves the purpose of contrasting the affluent and the poor. At Fred’s, Scrooge is privy to the party playing a game of ‘Yes or No’, led by Fred; the ‘animal’ and ‘ass’ that he is thinking of is Scrooge himself and these perceptions from the other characters clearly wound the aforementioned protagonist. Still smarting from this Scrooge is then whisked to the home of Bob Cratchit; a representation of the working class and despite Scrooge’s treatment, Cratchit remains fiercely loyal to his employer. A flicker of sympathy emerges from Scrooge when he asks if Tiny Tim will die, only for Christmas Present to fire back a comment Scrooge uttered earlier that day: "they had better do it now, and decrease the surplus population". With this now haunting him, Scrooge and Christmas Present are in vast space, mostly grey save for a shaft of moonlight. Superimposed upon the floor is a shadow of a clock face; a reminder that time is running out for Scrooge. In one final warning, Christmas Present draws back his robes to reveal two vicious and impoverished children; physical manifestations of Ignorance and Want - two of Scrooge’s own Seven Deadly Sins that have become responsible for who he is.
The Ghost of Christmas Yet to Come is unlike the two previous spirits; Christmas Yet to Come is a foreboding hooded shadow who never speaks. Christmas Yet to Come chases Scrooge through a sinister Victorian London and in trying to run away from his guilt and conscious he learns what the consequences of his actions will be if he doesn’t change. It’s in the sequence that Scrooge’s size changes; he’s small, unnoticeable and insignificant. Christmas Yet to Come first shows him a group of wealthy gentlemen making light of a recent death, which is then followed by Old Joe (the receiver of stolen goods) acquiring the belongings of the same dead person. Horrified, he pleads with Christmas Yet to Come to see some tenderness, who then returns him to Cratchit’s and the family mourning the death of Tiny Tim. In a final act, Scrooge is taken to a graveyard and there realises that the person of whom the people were speaking ill of was himself. As Scrooge desperately battles to stop himself falling into the opening grave and, below that, the fiery depths of Hell, he has the long-awaited epiphany and wakes once more in his bedroom a changed character.
Over supper Scrooge receives a visitor in the form of Marley’s spirit. The apparition serves as a warning, highlighting to Scrooge what he could potentially become. He advises of the three hauntings that are yet to come to Scrooge and his chance of redemption, something that Marley never had as he exits via the window to his eternally restless purgatory.
As Marley warned,
Scrooge is first visited by the Ghost of Christmas Past; an apparition reminiscent of a candle. Christmas Past drags Scrooge and the audience on another fairground-esque ride out of London and to a quintessential English village preparing for Christmas. Here we get a glimpse of Scrooge’s past and events which have caused him to become the resentful soul that he now is. We’re saddened as we observe a young Scrooge, alone, solemnly signing a Latin carol at boarding school, yet cheered when his younger and much-loved sister comes to take him home. In defence of Scrooge, the ostracism inflicted upon him by his father is one of the reason Scrooge has become the bitter character we meet at the start. In addition we experience Scrooge’s joy as he participates in dances; sense his gentleness as he falls in love. The youthful Scrooge is more a resemblance, in appearance and temperament, of Fred. However, we are also shown where the cracks that are already in place begin to fissure more deeply; Belle leaves him when she realises money interests him more than her, and how she found happiness with another man. Clearly finding this too much, Scrooge extinguishes the ghost, and also the memories. We are fired with Scrooge up into the atmosphere before he crashes and ‘wakes’ in reality; he’s back in the bedroom, leaving one to wonder if he actually left – another point which strengthens as the film progresses.The Ghost of Christmas Present is the second of the three spirits to appear; a larger-than-life character whose appearance echoes Father Christmas, with his flowing beard and robes. Christmas Present takes Scrooge around London, firstly to Fred’s house then to Bob Cratchit, and also serves the purpose of contrasting the affluent and the poor. At Fred’s, Scrooge is privy to the party playing a game of ‘Yes or No’, led by Fred; the ‘animal’ and ‘ass’ that he is thinking of is Scrooge himself and these perceptions from the other characters clearly wound the aforementioned protagonist. Still smarting from this Scrooge is then whisked to the home of Bob Cratchit; a representation of the working class and despite Scrooge’s treatment, Cratchit remains fiercely loyal to his employer. A flicker of sympathy emerges from Scrooge when he asks if Tiny Tim will die, only for Christmas Present to fire back a comment Scrooge uttered earlier that day: "they had better do it now, and decrease the surplus population". With this now haunting him, Scrooge and Christmas Present are in vast space, mostly grey save for a shaft of moonlight. Superimposed upon the floor is a shadow of a clock face; a reminder that time is running out for Scrooge. In one final warning, Christmas Present draws back his robes to reveal two vicious and impoverished children; physical manifestations of Ignorance and Want - two of Scrooge’s own Seven Deadly Sins that have become responsible for who he is.
The Ghost of Christmas Yet to Come is unlike the two previous spirits; Christmas Yet to Come is a foreboding hooded shadow who never speaks. Christmas Yet to Come chases Scrooge through a sinister Victorian London and in trying to run away from his guilt and conscious he learns what the consequences of his actions will be if he doesn’t change. It’s in the sequence that Scrooge’s size changes; he’s small, unnoticeable and insignificant. Christmas Yet to Come first shows him a group of wealthy gentlemen making light of a recent death, which is then followed by Old Joe (the receiver of stolen goods) acquiring the belongings of the same dead person. Horrified, he pleads with Christmas Yet to Come to see some tenderness, who then returns him to Cratchit’s and the family mourning the death of Tiny Tim. In a final act, Scrooge is taken to a graveyard and there realises that the person of whom the people were speaking ill of was himself. As Scrooge desperately battles to stop himself falling into the opening grave and, below that, the fiery depths of Hell, he has the long-awaited epiphany and wakes once more in his bedroom a changed character.
Though I’m reluctant to admit it, the only adaption of ‘A Christmas Carol’ I’ve seen is Disney’s cartoon version with Donald Duck in the lead role…and yes, I was fearful this version would spoil my affection for that one. Furthermore, I wasn’t too enthused at the idea of Jim Carey ‘playing almost every character’. I’m glad I was wrong on both counts! For much of the film I completely forgot Jim Carey was in the movie. Not only was he great as Scrooge but I also agree it was right he played the three ghosts as they are essentially his alter-egos. I also completely forgot Bob Hoskins – who I vaguely remember from ‘Who Framed Roger Rabbit?’ - featured in this movie until his name cropped up in the credits. It won’t surprise that I didn’t forget Colin Firth. He has only a couple of scenes, in the form of Fred. Having seen the trailer and promotional snippets, I was a little unsure of his ‘look’; it was quite fascinating to see an animated version of him, sometimes looking like himself and at other points looking like a interbreed of Shrek’s Lord Farquaad and Buzz Lightyear! On a more positive note, I was delighted to see they had captured and retained the little quirk he has, as an actor, to communicate so much with his eyes.
The plot progresses steadily and although the action scenes are sparse they make an impact when they occur, whether it is Scrooge flying through the sky or being pursued by the Ghost of Christmas Yet to Come. One review likened it to ‘downing shots of tequila whilst on a roller-coaster’ and it certainly it. However, the film is seeped in darkness, giving it a gothic feel, and suggesting how black Scrooge’s mood and soul are. The detail of the animation is impressive; the deep wrinkles etched into Scrooge’s face; the delicate snowflakes; the cold stone, frosted windows and blazing fires wrap you in the atmosphere. Adding to th
e traditional feel is the music; old-fashioned carols are choired in the way they are sung and used only when needed with the exception of the credits which climax with the powerful baritone of Andrea Bochelli singing.
This adaptation is spectacular and I’ve fallen in love with it… ‘The only one thing in the world more ridiculous than a merry Christmas’ as Scrooge would say.
Starring: Jim Carey, Bob Hoskins, Colin Firth, Robin Wright Penn, Gary Oldman
Director: Robert Zemeckis
Written by: Robert Zemeckis (Screenplay), Charles Dickens (Novel)
Release Date: 4th November 2009 (UK)
The plot progresses steadily and although the action scenes are sparse they make an impact when they occur, whether it is Scrooge flying through the sky or being pursued by the Ghost of Christmas Yet to Come. One review likened it to ‘downing shots of tequila whilst on a roller-coaster’ and it certainly it. However, the film is seeped in darkness, giving it a gothic feel, and suggesting how black Scrooge’s mood and soul are. The detail of the animation is impressive; the deep wrinkles etched into Scrooge’s face; the delicate snowflakes; the cold stone, frosted windows and blazing fires wrap you in the atmosphere. Adding to th
e traditional feel is the music; old-fashioned carols are choired in the way they are sung and used only when needed with the exception of the credits which climax with the powerful baritone of Andrea Bochelli singing.This adaptation is spectacular and I’ve fallen in love with it… ‘The only one thing in the world more ridiculous than a merry Christmas’ as Scrooge would say.
Starring: Jim Carey, Bob Hoskins, Colin Firth, Robin Wright Penn, Gary Oldman
Director: Robert Zemeckis
Written by: Robert Zemeckis (Screenplay), Charles Dickens (Novel)
Release Date: 4th November 2009 (UK)
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