If movies were children, Frank Capra’s It’s A Wonderful Life would wind up at the top of Santa’s “nice” list. (The naughty Bad Santa, on the other hand, would get singled out for punishment.) Yet, at the time of its release, 1946, it wasn’t exactly rewarded with a basketful of goodies at the box office – and it isn’t difficult to see why. Christmas movies, in the audience’s mind, then as now, abound with ho-ho-wholesome cheer. Consider the big hits. Home Alone. Elf. The Santa Clause. Miracle on 34th Street. These films only hint at depressing subject matter – a ruddy-cheeked child abandoned by his large family; a trial seeking to tar and feather a department-store Santa believed to be the real deal – while coasting on a cloud of holiday cheer. The ads could proclaim what they’ve always proclaimed: You’ll laugh, you’ll cry. (And you’ll learn what the spirit of Christmas is all about – family and faith.)
A really truthful ad for It’s A Wonderful Life, on the other hand, would have declared: You’ll feel like slitting your wrists. Indeed, the depressed protagonist, George Bailey, tries to kill himself after getting smashed out of his skull – and that’s just the film’s beginning. Hovering around this central event are episodes no less funereal – a child falls through a frozen lake, another child loses partial hearing, a third child is almost poisoned, a father suffers a fatal stroke, money saved up for a honeymoon is lost in the cause of repairing losses, skyrocketing rents burden the poor, savings are stolen, an arrest warrant is issued, a car crashes into a tree during a snowstorm, and a long-cherished dream is repeatedly sacrificed. Has there been a more downbeat story that’s come to symbolise the spirit of a holiday?
And yet, at a time Christmas has come to signify shopping more than anything else – bow-tied presents at the bottom of the tree – It’s A Wonderful Life argues for an appreciation of the life of Christ Himself, who suffered for His fellow men. George, too, suffers for the betterment of those around him, his crown of thorns always a private lament. And the heartwarming core of the film is that he learns, as do we, that a wonderful life is one that touches a million lives, however glancingly, however accidentally. Is it sentimental? Oh yes. But just as the angel in the film earns his wings, the film earns its tears. George Bailey is saved, at the end, by the very people he’s saved over and over. In the words of Clarence, the freshly minted angel, no man is a failure who has friends. Nice guys do finish first.
An edited version of this piece can be found here.
Copyright ©2011 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Mohan
December 24, 2011
Depressingly enough, in India, we get Ra.One for Diwali and Don2 for Christmas. And then there was Bodyguard for Eid. Talk about killing the festive spirit. 😉
It’s even worse in TN. Last year, a neatly crafted thriller in the form of Eesan was taken off screens in 5 fu**ing days because of a brain-dead big-budget film called Manmadhan Ambu that released on Christmas.
This year, another small-budget thriller(Mounaguru) that’s received critical acclaim is being trampled all over by the release of Rajapattai, which, somewhat eerily, is being trashed in much the same manner as MA was last year.
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KP
December 24, 2011
My favorite feel good movie, sometimes making me wonder why can’t life be so simple:).
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MAK
December 24, 2011
A very charming film and a favorite one, esp the climax! thanks for posting!
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sharan
December 24, 2011
I was just searching for the DVD of It’s A Wonderful Life to watch this Christmas. And here you are, posting about it.
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ara
December 25, 2011
BR, can you recommend some Tamil films from this year and last year off the top of your head? Movies by major players (Manmadhan Ambu / Endiran / 7aam arivu) have been disappointing to say the least and I am sure there are smaller indie-ish ones worth giving a shot. I used to look at the above-avg / good ones in your star ratings to make a quick choice earlier but doesnt look you do that anymore – any chance of that happening again?
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brangan
December 25, 2011
ara: Have you seen Vaagai Sooda Vaa? That was quite a charmer for the most part.
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rameshram
December 25, 2011
Rangan, serious question for you.. if the Angel had been (say) muruga peruman (six year old boy tiara, vel, bare chest and jewelery over veshti speaking sen tamizzz) would you have given the same coverage on pongal eve to a tamil film with a similar plot?
Im saying that we exoticize the foreign and our fetish is what gives these movies some extra special significance. If IAWL had had no angel in it, it might have been a decent movie.
It’s a half decent melodrama,and has become sanctified as a classic, but in this same period,(1940’s 50’s). there were so many other much more talented melodramatists (douglas sirk elia kazan, frank borzage ) who were buried by the studio establishment in Hollywood .
Although its raw emotional appeal is almost ritwik ghatakian, My personal opinion is that this film is just naked pandering and lacks emotional sophistication or complexity that ought to characterize a well crafted melodramatic script.
Kabalam’s Madhu film(ethir neechal) was a better effort (and I don’t mean to compliment Kabalam here.)
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rameshram
December 25, 2011
I mean seriously?!
(mmm enna da ragam? :D)
(I can’t seem to stop posting this ! ..or watching it….)
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KayKay
December 26, 2011
B, next Christmas eve, howzabout a write-up on the Best.Christmas.Movie.Ever: Die Hard?
A Merry and Happy Belated Christmas BTW!
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Niranjan
December 26, 2011
But I thought the angel was supposed to be metaphorical, at least to the Bailey character since the angel doesn’t do anything angelic anyways. The only thing the angel does, is to make him (and by extension, the audience) ponder. But, yeah, the angel is perhaps what makes it a Christmas movie, and in my personal opinion, a really wonderful one.
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penelope
December 27, 2011
“Anurag kashyap: “Chennai is the birthplace of a new language in cinema. The audiences here are the most evolved moviegoers to be found anywhere in India”
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rameshram
December 27, 2011
Screw anurag kashyap. terrible filmmaker.
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Arun
December 28, 2011
On the topic on feel-good festive movies, I’ll stretch it a tad and ask what’s your stand on comedy movies not being considered for the academy award? Have you written a piece on it or off the top of your head, touched on it anywhere?
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brangan
December 28, 2011
rameshram: I don’t know that I’d put Sirk and Capra in the same melodramatic bucket. Sirk and Fassbinder and Shantaram and Bhansali are people who distill melodrama to a very pure essence of melos+drama. It’s a very stylised thing these people do. Capra, to me, is just an old-fashioned (for lack of a better word) filmmaker, whose films are “melodramatic” only to the extent that they wear their hearts on their sleeves. I don’t like all of Capra’s films, but this one always brings a lump to the throat, not least because of Stewart’s very nakedly emotional performance.
Arun: Oh, comedy films have been considered off and on. Annie Hall won Best Picture, and that’s a sort of comedy (well, an intellectual comedy perhaps, but still not a “drama”). But that’s the attitude of everyone everywhere, that cinema has to be profound and deep and instill noble thoughts in the human race. I haven’t written anything about this as such, but on a related topic I once wrote about the phase of Kamal Haasan where he was a stylish star, which is a phase that I really enjoyed. And a lot of people completely missed the point and told me things like “how can you praise this phase when his Anbe Sivam phase” (i.e. his “serious” phase) came only later. Most people have a very frighteningly narrow definition of what constitutes a good film/good performance etc. It’s almost as if being “entertained” by a star or a film is something terribly shallow, and we should all be very ashamed 🙂
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rameshram
December 28, 2011
Brannigan, this is true. I guess we should make a conscious distinction between people who write melodrama as a TREATMENT and those whose “drama” scripts wander into melodrama because they can’t help being dramatic…..although why we should treat them differently escapes me.
I guess we just don’t see evidence for this too often in Hollywood movies. Take sindhu bhairavi, for instance. Im sure Kabalam never intended to “make a melodrama” and went about revising the rules of a melodrama when he shot this : http://www.youtube.com/watch?v=IdXrBOls7iQ but what emerges is precisely that. The Latter variety, where a dose of (an overdose of?) emotion in the narration(as opposed to a controlled interplay/ class of emotionality for example Ghatak’s very evocative(tagore’s) “akash bhora shurjo tara” here http://www.youtube.com/watch?v=tPZI6spIUpo ) makes the script melodramatic.
Maybe Capra’s movie is more the KB variety and not the Ghatak variety here…
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Arun
December 28, 2011
He he 😀 I wouldn’t have been surprised if we in India had shunned comedies during the awards season and hollywood had honoured them. After all, ours is supposed to be a much more guilt-ridden society and that’s why most of our movies feel compelled to end on a ‘morally right’ note. The movies in the West however, traverse so many genres and reflect such a rich variety of the realities of life, Im surprised they don’t seem to have the maturity to recognise comedy for what it is.
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karthi
December 28, 2011
Mouna guru is an interesting film.engaging for most parts.care to review?
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vijay
December 29, 2011
“But that’s the attitude of everyone everywhere, that cinema has to be profound and deep and instill noble thoughts in the human race.”
even a comedy can do all that(early Chaplin, Coen brothers etc.)sometimes. But since the tone is humorous it would be instantly dismissed as welterweight. The only exception I have seen where a comedy film features in any of these top 10 lists that you find in all the usual sites is Dr. Strangelove, and even that I suspect has a lot to do with the Kubrick brandname. Here in India it is even worse.
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ara
January 2, 2012
Thanks for the Vaagai Sooda Vaa reco – enjoyed it a lot. Any other recos? Without a list, I might have to wade through / bear stuff like Nadunisi Nayigal 😦
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