Scrooge (1970)
It's really difficult to screw up any version of a story with a long tradition of adaptations. So many aspects of it have been explored already and it's easy for any potential production to see what works and what might not.
I barely need to mention the plot:
An usurious money lender's life is changed when he is visited by the ghost of a damned former partner and then three spirits of Christmas who perform not only what may be the very first instance of time-travel in popular literature (though magically rather than technology-based,) and additionally present him with alternate timelines of what-might-be; these last two aspects of tremendous influence in Science Fiction and Fantasy literature and film and which virtually comprise two distinct genres just by themselves.
This particular version is a musical and seems to intend to highlight the comedic aspects of its main character; if not, then that's how it worked for us.
We know Ebeneezer Scrooge is inevitably going to be redeemed so we delight in the early portions where his initial wretchedness is presented. Even late in the story, when the whole town is celebrating something Scrooge did and he joins in song and dance ("Thank You Very Much,") clueless that what they are celebrating is his death, must result in much audience hilarity.
The story's horrific and tragic aspects are touched upon, and the sentiments are still effective, but there seems to have been a conscious attempt not to delve too deeply into darkness. Tiny Tim's death, for example, merits a quick scene with his mother and siblings at home, then a short segment with his father at his grave.
The revelation of Scrooge's mortality is presented in bright light, with even the Ghost of Christmas Yet to Be's dark countenance somewhat diluted, as what I would assume to be the lack of a face is revealed to be simply a dark cloth obscuring the actor's own.
A sequence of Scrooge in Hell is set on a very artificial-looking, well-lit set, and rather than emphasizing its potential Horror, he is received by Marley's ghost (Alec Guinness, moving strangely, as if underwater and with very jokey lines and delivery,) and sentenced to Hell's single cold room, held with a chain carried by muscular, shirtless, hooded demons.
It does one good to explore all the different versions rather than sticking to a single, favorite one every year, and this is as good an option as any.
The mood is comedic; the songs are fun, and they and the music, are well integrated into the story. Albert Finney seems an odd choice seeming much too young, (or maybe I've gotten too old,) and well-fed; but he does a fine, believable job, his old persona instead physically affected by a stroke-based partial facial paralysis (?) even when the young version is barely even present for comparison.
Also with Edith Evans, Kenneth More, Laurence Naismith, Michael Medwin, David Collings, Anton Rodgers, and Suzanne Neve.
Check it out.
It's really difficult to screw up any version of a story with a long tradition of adaptations. So many aspects of it have been explored already and it's easy for any potential production to see what works and what might not.
I barely need to mention the plot:
An usurious money lender's life is changed when he is visited by the ghost of a damned former partner and then three spirits of Christmas who perform not only what may be the very first instance of time-travel in popular literature (though magically rather than technology-based,) and additionally present him with alternate timelines of what-might-be; these last two aspects of tremendous influence in Science Fiction and Fantasy literature and film and which virtually comprise two distinct genres just by themselves.
This particular version is a musical and seems to intend to highlight the comedic aspects of its main character; if not, then that's how it worked for us.
We know Ebeneezer Scrooge is inevitably going to be redeemed so we delight in the early portions where his initial wretchedness is presented. Even late in the story, when the whole town is celebrating something Scrooge did and he joins in song and dance ("Thank You Very Much,") clueless that what they are celebrating is his death, must result in much audience hilarity.
The story's horrific and tragic aspects are touched upon, and the sentiments are still effective, but there seems to have been a conscious attempt not to delve too deeply into darkness. Tiny Tim's death, for example, merits a quick scene with his mother and siblings at home, then a short segment with his father at his grave.
The revelation of Scrooge's mortality is presented in bright light, with even the Ghost of Christmas Yet to Be's dark countenance somewhat diluted, as what I would assume to be the lack of a face is revealed to be simply a dark cloth obscuring the actor's own.
A sequence of Scrooge in Hell is set on a very artificial-looking, well-lit set, and rather than emphasizing its potential Horror, he is received by Marley's ghost (Alec Guinness, moving strangely, as if underwater and with very jokey lines and delivery,) and sentenced to Hell's single cold room, held with a chain carried by muscular, shirtless, hooded demons.
It does one good to explore all the different versions rather than sticking to a single, favorite one every year, and this is as good an option as any.
The mood is comedic; the songs are fun, and they and the music, are well integrated into the story. Albert Finney seems an odd choice seeming much too young, (or maybe I've gotten too old,) and well-fed; but he does a fine, believable job, his old persona instead physically affected by a stroke-based partial facial paralysis (?) even when the young version is barely even present for comparison.
Also with Edith Evans, Kenneth More, Laurence Naismith, Michael Medwin, David Collings, Anton Rodgers, and Suzanne Neve.
Check it out.
statistics: Posted by hermanthegerm — 7:06 PM - 1 day ago — Replies 4 — Views 287