‘A Christmas Carol’ (1984) starring George C. Scott is in my opinion the seminal adaptation of Charles Dickens’ well-known classic. Directed by British filmmaker Clive Donner, who held the position of editor on a previous version (‘Scrooge’ released 1951), this 1984 iteration encompasses the traditional narrative: a miser who learns the true meaning of the holidays after a visitation by four Christmas Eve ghosts. ‘A Christmas Carol’ (1984) adds contemporary zest, gripping visuals, and modern set-design that marvelously recreates 1800s London, England, not to mention a look-and-feel perfectly balancing Yuletide ambience with a moodily morose ghost story. Although Charles Dickens’ holiday classic ‘A Christmas Carol’ is clearly a Christmas story – through and through – the moral present is relayed via a tale of horror – a strange literary device at first glance, but one that managed to achieve timelessness perhaps due to its cleverly contrasted tones.
I think Donner’s vision really excels in this area. His pacing accentuates the more prominent plot points, while George C. Scott’s understated theatricality (grounded but still full of beneficial pomp; Shakespearian; E.G., John Malkovitch, Patrick Stewart, etc) manages to capture not only the character of Ebenezer Scrooge in its entirety – but also the audience’s interest; fully, completely and unerringly.
There are innumerable versions of ‘A Christmas Carol’, literally. When including all formats and mediums, from radio to made-for-television films, animated, major cinematic releases, and even single television episode riffs, there’s so many versions of this prolific holiday tale that when searching online, articles claim the exact number as unknowable. “Countless” is a term that gets thrown around a lot. If you’re strictly looking at non-parody, not animated, major releases – there’s easily dozens of different versions with Ebenezer Scrooge appearing on the silver screen. Since the initial adaptation all the way back in 1901 (A silent-film British short, titled ‘Scrooge’ or ‘Marley’s Ghost’ in some regions).
I say all this to make a simple point: the fact that 1984’s ‘A Christmas Carol’ stands out, enduring the test of time, is truly impressive. And a statement of quality in of itself.
Upon rewatching, I was really struck by the authenticity with which every actor delivers their lines. Even the most methodical period-specific films tend to have an actor or two that biffs a line, cannot get “fully into character”; negatively affecting suspension of disbelief. In a modern or contemporary setting it seems much easier to strictly underact; delivering a naturalistic portrayal which avoids the risk of overacting. Cinema or television taking place in a set time/geographical locale demands that a cast learn a specific cadence, or region specific accent, and they always deserve extra praise for such intense attention to detail. Also, let’s not forget, wardrobe and costuming when effective goes a long way in immersing not only the audience – but the actors on set.
…Equally quintessential, in my opinion.
It’s my observation that the performances and visual aspects of ‘A Christmas Carol’ (1984) play fantastically well off of each other. That behind-the-scenes synergy between craft and performance art allowed for a marvelously captivating final product. It tactfully imbued new life into a tale that was (even at that time) becoming a bit tired due to oversaturation in the public consciousness. It’s a long journey from being one of the beloved Christmas classics – to becoming an undeniable representation of the holiday itself – which Charles Dickens’ story ostensibly is.
Every subsequent standout adaptation has helped solidify ‘A Christmas Carol’ as archetypical to holiday cheer. I believe the 1984 version starring George C. Scott to be one of the more prominent examples of this…
‘Scrooged’ starring Bill Murray is great too, though.
(Ba-humbug to this. I’m done.)
Rating 8.5/10
