David O'ConnellA Christmas Carol
December 4th 2009 03:20
Director Robert Zemeckis is lurching over well-trodden ground in tackling another version of Charles Dickens’ immortal Christmas classic. Far from redundant however, Zemeckis’ once again utilises motion-capture CG animation – a technology he's been refining through The Polar Express (2004) and Beowulf (2007) – and it provides his take on A Christmas Carol with that fresh perspective it needed to justify its own existence in a way.
The tale of the miserly, misanthropic Ebenezer Scrooge is a familiar one by now: a man who would rather be left to his own devices, gripping every last penny until cold, impersonal death consumes him. The embittered old Scrooge is in need of redirection, during what should be the most joyous time of the year, to reclaim his soul and that exhumed part within that once passed for human.
It’s the ghost of his long-time business partner, Jacob Marley, who sets the ball – and chains! – in motion with a Christmas Eve visitation that kick-starts a whirlwind tour of the past, present, and future with three accommodating ghosts. Scrooge is shown the error of his ways, how he left the shell of a decent person behind for the pursuit of material gain, and the lowly opinion his employees and relations have of him.
He’s an object of pity and Zemeckis decides to burrow down into the dark depths of Dickens' story to render Scrooge’s illumination of the soul - beyond its fundamental message - as a gripping, and pretty damn scary, horror story. Though not devoid of appropriately grim humour, it admirably steers clear of blunting the bleak tone for a younger audience. That’ll disappoint parents with young kids looking for a whimsical retread, but I couldn’t have been more impressed. Zemeckis really puts the frighteners on old Scrooge and the highly stylised recreation of Olde London is an immaculate conception in its own right.
A Christmas Carol is a story that will outlive time itself so Zemeckis really didn’t need to do a lot of tweaking to ensure a winning formula; the 3D technology allows him to take the tale in directions unimaginable up to this point. Yes, the additions could be viewed as tampering with a classic but motion-capture has a stunning elasticity, allowing for a perfect middle-ground in its seamless integration of animation and live-action, so why not abuse the hell out of it?
Jim Carrey in multiple roles, including Scrooge and all the spirits, does a pretty stupendous job; though other quality actors like Colin Firth and Gary Oldman have crucial roles, it’s his chameleonic presence which carries the film, stretching his vocal talents to the point of inscrutability. He wades right into Scrooge’s acidic, dismissive nature, his grimly-set despise of humanity. When the supernatural forces come for him, he cowers in fear and the transformation he ultimately experiences is a believable one.
It’s an especially no-holds-barred journey to the dark side with the Ghost of Christmas Future, in the form of a wordless Grim Reaper-like figure, making a final persuasive case for change; he sends Scrooge, literally, into the abyss of his own yawning grave where damnation is assured without appropriate contrition.
This is an extravagant, spectacular adaptation of a Dickens classic, and such a feast for the senses that many children will be intimidated by it. Admittedly it has the feel of an over-cranked theme park ride at times with its kinetic pacing and aural assault sure to keep both young and old awake. But it exceeds both The Polar Express and Beowulf, and in one significant way – those dead eyes which tainted both films have been dramatically improved upon; there’s even a glimmer of life in those of the rapturous final incarnation of Scrooge by story's end. Overall, suprisingly enjoyable.
The tale of the miserly, misanthropic Ebenezer Scrooge is a familiar one by now: a man who would rather be left to his own devices, gripping every last penny until cold, impersonal death consumes him. The embittered old Scrooge is in need of redirection, during what should be the most joyous time of the year, to reclaim his soul and that exhumed part within that once passed for human.
It’s the ghost of his long-time business partner, Jacob Marley, who sets the ball – and chains! – in motion with a Christmas Eve visitation that kick-starts a whirlwind tour of the past, present, and future with three accommodating ghosts. Scrooge is shown the error of his ways, how he left the shell of a decent person behind for the pursuit of material gain, and the lowly opinion his employees and relations have of him.
He’s an object of pity and Zemeckis decides to burrow down into the dark depths of Dickens' story to render Scrooge’s illumination of the soul - beyond its fundamental message - as a gripping, and pretty damn scary, horror story. Though not devoid of appropriately grim humour, it admirably steers clear of blunting the bleak tone for a younger audience. That’ll disappoint parents with young kids looking for a whimsical retread, but I couldn’t have been more impressed. Zemeckis really puts the frighteners on old Scrooge and the highly stylised recreation of Olde London is an immaculate conception in its own right.
A Christmas Carol is a story that will outlive time itself so Zemeckis really didn’t need to do a lot of tweaking to ensure a winning formula; the 3D technology allows him to take the tale in directions unimaginable up to this point. Yes, the additions could be viewed as tampering with a classic but motion-capture has a stunning elasticity, allowing for a perfect middle-ground in its seamless integration of animation and live-action, so why not abuse the hell out of it?
Jim Carrey in multiple roles, including Scrooge and all the spirits, does a pretty stupendous job; though other quality actors like Colin Firth and Gary Oldman have crucial roles, it’s his chameleonic presence which carries the film, stretching his vocal talents to the point of inscrutability. He wades right into Scrooge’s acidic, dismissive nature, his grimly-set despise of humanity. When the supernatural forces come for him, he cowers in fear and the transformation he ultimately experiences is a believable one.
It’s an especially no-holds-barred journey to the dark side with the Ghost of Christmas Future, in the form of a wordless Grim Reaper-like figure, making a final persuasive case for change; he sends Scrooge, literally, into the abyss of his own yawning grave where damnation is assured without appropriate contrition.
This is an extravagant, spectacular adaptation of a Dickens classic, and such a feast for the senses that many children will be intimidated by it. Admittedly it has the feel of an over-cranked theme park ride at times with its kinetic pacing and aural assault sure to keep both young and old awake. But it exceeds both The Polar Express and Beowulf, and in one significant way – those dead eyes which tainted both films have been dramatically improved upon; there’s even a glimmer of life in those of the rapturous final incarnation of Scrooge by story's end. Overall, suprisingly enjoyable.
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Comment by quatro
Secret Writers Business
you do keep yourself busy.
I for one can not go past some of the Christmas classics.
I have not seen any recent movies let alone any Christmas movies.
Keep up the great work
Alex
Comment by David O'Connell
Screen Fanatic
Hope you get a time-out to watch a movie very soon mate, take care!
Comment by Matt Shea
20/20 Filmsight
Comment by David O'Connell
Screen Fanatic
I don't mind Polar Express either, though a bit soulless in a way - mostly because of everyone's creepy dead eyes!!
Comment by Matt Shea
20/20 Filmsight