Something that irks me about a lot of modern seasonal movies is their insistent self-consciousness – the over-the-top ornaments, the checklist score selections, and the canned speeches about the true meaning of the holidays. It could be because the genre was not yet ossified into routine, pictures from the 1940s often tackle Yuletide from far more imaginative and less obsessive perspectives.
One delightful gem from sifting through 1940s seasonal films is It Happened on Fifth Avenue, a 1947 semi-romantic comedy with a great premise: a happy-go-lucky drifter winters in a unoccupied posh mansion each year. During one cold spell, he brings in new acquaintances to stay with him, among them a former GI and a young woman who turns out to be the heiress of the home's wealthy proprietor. Helmer Roy Del Ruth infuses the film with a makeshift family warmth that many newer holiday stories struggle to achieve. It perfectly balances a socially aware commentary on shelter and a delightful metropolitan romance.
Satoshi Kon's 2003 tragicomedy Tokyo Godfathers is a fun, sad, and deeply moving take on the festive tale. Inspired by a classic Hollywood movie, it follows a trio of displaced individuals – an alcoholic, a trans character, and a adolescent throwaway – who find an discarded infant on the night before Christmas. Their mission to locate the baby's family sets off a sequence of unexpected events involving gangsters, newcomers, and ostensibly serendipitous encounters. The movie doubles down on the magic of fate frequently found in seasonal tales, presenting it with a stylish aesthetic that avoids saccharine emotion.
Although Frank Capra's It's a Wonderful Life justifiably gets much praise, his lesser-known picture Meet John Doe is a compelling Christmas story in its own right. Starring Gary Cooper as a down-on-his-luck "forgotten man" and Barbara Stanwyck as a clever reporter, the movie kicks off with a fictional letter from a man threatening to jump from a building on the holiday in frustration. The public's embrace leads the journalist to find a man to portray the fictional "John Doe," who subsequently becomes a country-wide icon for community. The narrative serves as both an heartwarming tale and a sharp indictment of ultra-rich businessmen attempting to exploit grassroots goodwill for political gain.
Whereas Christmas horror pictures are now a dime a dozen, the Christmas thriller remains a somewhat niche subgenre. This makes the 1978 feature The Silent Partner a unique discovery. With a superbly sinister Christopher Plummer as a bank-robbing Santa Claus and Elliott Gould as a mild-mannered bank teller, the movie sets two kinds of morally ambiguous oddballs against each other in a sleek and twisty tale. Largely ignored upon its original debut, it merits rediscovery for those who like their Christmas entertainment with a chilling tone.
For those who prefer their holiday gatherings chaotic, Almost Christmas is a hoot. Boasting a star-studded ensemble that has Danny Glover, Mo'Nique, and JB Smoove, the movie explores the strain of a clan compelled to endure five days under one roof during the holidays. Secret issues come to the surface, resulting in moments of extreme comedy, including a confrontation where a firearm is brandished. Of course, the story finds a satisfying ending, providing all the enjoyment of a family mess without any of the real-life aftermath.
The director's 1999 feature Go is a Christmas-themed caper that serves as a teen-oriented take on woven stories. While some of its edginess may feel of its time upon a modern viewing, the picture still offers plenty things to savor. These range from a cool turn from Sarah Polley to a memorable scene by Timothy Olyphant as a dangerous drug dealer who fittingly sports a Santa hat. It embodies a specific style of 1990s film vibe set against a festive setting.
Preston Sturges's wartime farce The Miracle of Morgan's Creek skips typical holiday warmth in return for bawdy comedy. The story centers on Betty Hutton's character, who discovers she is pregnant after a hazy night but cannot recall the man involved. A lot of the comedy comes from her situation and the attempts of Eddie Bracken's simping Norval Jones to marry her. Although not obviously a holiday film at the outset, the story culminates on the festive day, showing that Sturges has refashioned a satirical interpretation of the Christmas story, loaded with his characteristic witty edge.
This 1985 adolescent film with John Cusack, Better Off Dead, is a quintessential example of its time. Cusack's