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Post by MarkInTexas on Nov 23, 2017 22:01:29 GMT -5
The annual tradition returns this Sunday, with the first of 16 entries reviewing classic--and not-so-classic--TV Christmas specials. We'll be kicking off with a look back at a time when a Broadway musical actually could get its own network Christmas special. See you then!
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Post by MarkInTexas on Nov 26, 2017 10:03:49 GMT -5
The Annie Christmas Show (1977)
Broadway no longer holds the cultural position it did 50 years ago, when Rodgers and Hammerstein were household names and the cast album for Hello, Dolly could be the best-selling record in America. Occasionally, a Broadway show, like Rent, Wicked, The Book of Mormon, or Hamilton, will escape the confines of midtown Manhattan and enter into the mainstream of American culture. However, it’s impossible to imagine that one of the commercial broadcast networks devoting an hour of airtime to a musical, no matter how popular (Hamilton, with is pretty much the biggest musical juggernaut in years, got a making-of special, but it aired on PBS).
NBC had no such qualms in 1977, when The Annie Christmas Show premiered. Annie, the comic strip adaption that told the story of a plucky little orphan in Depression-era New York and her billionaire benefactor, was the year’s musical sensation. It was also family-friendly, with its cast of cute little girls as Annie’s fellow orphans and its catchy songs like “Tomorrow” and “Hard-Knock Life”. In short, in a decade where musical theater was moving away from traditional musical comedy and toward shows with a harder, adult edge like Company, Chicago, and A Chorus Line, Annie was a throwback, though it is still surprising that it was enough of a national sensation to get a coast-to-coast special on NBC.
People tuning in might have expected highlights from the actual show, or the cast singing Christmas carols, or perhaps an original story about Annie and Daddy Warbucks’s first Christmas as father and daughter. They got 2 ½ out of 3. There were the expected clips (including “Tomorrow”, of course), and the expected carols. There’s also an original story, but it’s not about Annie. Instead, it’s about the cast of Annie (playing themselves) trying to convince the various hostile unions at the Alvin Theater to allow them to host the cast Christmas party on the theater’s stage.
This leads to four separate scenes in which various cast members have musical encounters with the members of the union, all of whom seem to be Broadway-ready singers and dancers. Most weird is the scene where Reid Shelton, the original Warbucks, meets with the two members of the electrician’s union, both of whom seem to actually conduct electricity and one of whom spends the entire scene wearing a Native American headdress, because he’s the chief electrician (oh, that 70s politically incorrect humor). The whole anti-union vibe from the special seems rather odd. Were Thomas Meehan and Martin Charnin, the writers of both the original show and the special, in the middle of union disputes during the making of the special?
Of course, there’s a happy ending and the aforementioned Christmas carol party (complete with a truly athletic performance of The Twelve Days of Christmas). That doesn’t change the fact that The Annie Christmas Show is an odd relic of a different time. Lin-Manuel Miranda may get to host Saturday Night Live, but Hamilton Celebrates Independence Day is unlikely to ever be a thing. It’s surprising that The Annie Christmas Show got to be one.
Next time: A major animation studio’s first Christmas—or at least Christmas-adjacent—special.
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Franko
TI Forumite
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Post by Franko on Nov 26, 2017 16:11:25 GMT -5
I'm guessing The Annie Christmas Special existed for a few reasons: -- the show was launching a national tour in the spring, so TPTB wanted extra exposure (I'm sure they also did a Macy's performance) -- NBC relied heavily on specials and movies in the late '70s, eventually having four straight nights of such in 1978)
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Post by ganews on Nov 26, 2017 18:13:38 GMT -5
I was thinking of you MarkInTexas when we didn't bother to change the channel when the Rankin & Bass "Santa Claus is Coming to Town" came on the other night. Eh. It featured the voice of Boris Badinoff.
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Post by Nudeviking on Nov 26, 2017 19:44:20 GMT -5
I was thinking of you MarkInTexas when we didn't bother to change the channel when the Rankin & Bass "Santa Claus is Coming to Town" came on the other night. Eh. It featured the voice of Boris Badinoff. That movie/special/event is great! Its got Fred Astaire in it, Ed Sheeran clearly jacked his look from Young Santa Claus, and Jessica Claus is hot AF. I'd go so far as to say it is the second best Christmas special of all, after The Life and Times of Santa Claus which is another Rakin-Bass jam that's basically Santa as a D&D character fightin' orcs and shit.
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Post by MarkInTexas on Nov 27, 2017 11:59:24 GMT -5
I was thinking of you MarkInTexas when we didn't bother to change the channel when the Rankin & Bass "Santa Claus is Coming to Town" came on the other night. Eh. It featured the voice of Boris Badinoff. That movie/special/event is great! Its got Fred Astaire in it, Ed Sheeran clearly jacked his look from Young Santa Claus, and Jessica Claus is hot AF. I'd go so far as to say it is the second best Christmas special of all, after The Life and Times of Santa Claus which is another Rakin-Bass jam that's basically Santa as a D&D character fightin' orcs and shit. I haven't looked at Freeform's 25 Days of Christmas schedule for this year yet, but, assuming they're still breaking out the Rankin-Bass, Life and Adventures of Santa Claus should air at least a few times in December. It was the final R-B special, and definitely a return to the quality of most of their late 60s/early 70s output, after a number of years of duds (at some point, I'll have to write up The Leprechauns' Christmas Gold--but that will require me to rewatch The Leprechauns' Christmas Gold). And yes, it is quite strange. When I wrote it up at the old country a couple of years ago, I think I called it Santa of the Rings. I hadn't really thought about how much Ed Sheeran looks like young Claus in Santa Claus is Coming to Town, but you're right--he definitely does. ABC has already ran it this season (on Black Friday, while NBC was showing How the Grinch Stole Christmas and the new Trolls special--which I'll be writing up later this season--and CBS had Frosty and (ugh) Frosty Returns. Why all three networks needed to air classic specials against each other over four weeks before the big day, I don't know), but Freeform will also likely show it a few times in December as well.
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Post by MarkInTexas on Nov 27, 2017 12:34:13 GMT -5
I'm guessing The Annie Christmas Special existed for a few reasons: -- the show was launching a national tour in the spring, so TPTB wanted extra exposure (I'm sure they also did a Macy's performance) -- NBC relied heavily on specials and movies in the late '70s, eventually having four straight nights of such in 1978) Yeah, NBC was in dire straits in 1977. Outside of Little House on the Prairie and the Monday Night Movie, they had nothing else in the Top 20. The show originally aired on Sunday, December 4 at 7 pm (8, Eastern/Pacific) a slot, according to Wikipedia, that was normally held by the 2nd hour of The Wonderful World of Disney. However, it seems that Disney had already been trimmed to one hour by that point, since the timeslot seemed to be regularly handed over to specials by early December. In February, a show called Project UFO, which Wikipedia would essentially call a proto-X Files, would premiere in that timeslot, apparently to great success, as it was the 19th highest rated show of 77/78. Ratings must have utterly collapsed that fall, since the show was gone by mid-January 1979. And thus concludes another edition of Useless TV Schedule Trivia.
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Post by MarkInTexas on Nov 29, 2017 0:52:51 GMT -5
Toy Story That Time Forgot (2014)
There are Christmas movies, and there are Christmas-adjacent movies. Christmas movies involve Christmas characters, and/or could take place only at Christmas. Christmas-adjacent movies use the holiday season as a setting, but the basic storyline would work set at any time of the year. Miracle on 34th Street is a Christmas movie. Die Hard is a Christmas-adjacent movie, since with a minor rewrite, the story would work just as well on Mother's Day, or Halloween, or a random Tuesday in April.
Most of the specials I've discussed have been Christmas specials. Toy Story That Time Forgot is perhaps the first Christmas-adjacent special I've written up. The primary reason it's set at Christmas (or, more precisely, two days after Christmas) is that the plot requires a character to have just gotten a staggering toy haul. It could have just as easily been set two days after the kid's birthday, or, given that his toy-filled room appears to be the size of a football field, on a random Tuesday in April.
Like Toy Story of Terror, the Halloween (or Halloween-adjacent) special, Toy Story That Time Forgot regulates Buzz and Woody (still voiced by Tim Allen and Tom Hanks) to supporting roles to throw the spotlight on a supporting character. Terror focused on Jesse, who plays only a bit part in this one. Time Forgot stars Trixie, the toy triceratops winningly voiced by Kristen Schaal. She, along with Buzz, Woody, and Rex (Wallace Shawn) are taken by owner Bonnie on a post-Christmas playdate. While Bonnie and her friend Mason are distracted by his new video game system, Trixie and the others discover that Mason's other Christmas gift was a complete set of dinosaur warrior action figures, who...well, let's just say that one of the major plot points of Toy Story (and, for that matter, Toy Story 2) is recycled here.
Toy Story That Time Forgot is an improvement over Toy Story of Terror, but is still several rungs below the three films. I did like the small twist on the recycled formula, and Trixie is a good character, as is Reptillus (Kevin McKidd) a conflicted dinosaur warrior. However, it feels like the stakes are pretty small, and to be honest, I like my Christmas specials to actually be about Christmas. Hopefully, Toy Story 4 will hone more closely to the other films than to the specials.
Next time: Not even one of the biggest names in animation could keep this special from falling into obscurity.
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Post by Nudeviking on Nov 29, 2017 2:44:48 GMT -5
Toy Story That Time Forgot (2014)There are Christmas movies, and there are Christmas-adjacent movies. Christmas movies involve Christmas characters, and/or could take place only at Christmas. Christmas-adjacent movies use the holiday season as a setting, but the basic storyline would work set at any time of the year. Miracle on 34th Street is a Christmas movie. Die Hard is a Christmas-adjacent movie, since with a minor rewrite, the story would work just as well on Mother's Day, or Halloween, or a random Tuesday in April. Most of the specials I've discussed have been Christmas specials. Toy Story That Time Forgot is perhaps the first Christmas-adjacent special I've written up. The primary reason it's set at Christmas (or, more precisely, two days after Christmas) is that the plot requires a character to have just gotten a staggering toy haul. It could have just as easily been set two days after the kid's birthday, or, given that his toy-filled room appears to be the size of a football field, on a random Tuesday in April. Like Toy Story of Terror, the Halloween (or Halloween-adjacent) special, Toy Story That Time Forgot regulates Buzz and Woody (still voiced by Tim Allen and Tom Hanks) to supporting roles to throw the spotlight on a supporting character. Terror focused on Jesse, who plays only a bit part in this one. Time Forgot stars Trixie, the toy triceratops winningly voiced by Kristen Schaal. She, along with Buzz, Woody, and Rex (Wallace Shawn) are taken by owner Bonnie on a post-Christmas playdate. While Bonnie and her friend Mason are distracted by his new video game system, Trixie and the others discover that Mason's other Christmas gift was a complete set of dinosaur warrior action figures, who...well, let's just say that one of the major plot points of Toy Story (and, for that matter, Toy Story 2) is recycled here. Toy Story That Time Forgot is an improvement over Toy Story of Terror, but is still several rungs below the three films. I did like the small twist on the recycled formula, and Trixie is a good character, as is Reptillus (Kevin McKidd) a conflicted dinosaur warrior. However, it feels like the stakes are pretty small, and to be honest, I like my Christmas specials to actually be about Christmas. Hopefully, Toy Story 4 will hone more closely to the other films than to the specials. Next time: Not even one of the biggest names in animation could keep this special from falling into obscurity. I saw this and literally had no idea it had anything to do with Christmas until the very ending when there's a shot of a Christmas tree since I happened upon it while flipping through channels a couple minutes after it started a thus missed the opening exposition explaining that, "Yes, this is kind of Christmasy." Even the fact that one of the toys accompanying them was in fact a Christmas ornament did nothing to making think it had anything to do with Christmas since kids will make toys out of the most random stuff (my own daughter at present pushes around a plastic jack o'lantern that she refers to as a baby in a doll stroller). As for the movie/special/short itself I thought it was pretty decent all things considered. The fact that they got the actual voice actors back for this was pretty decent and it was technically as impressive as any other Pixar fare but thought the script was kind of weak and the whole "video games are bad kids need to play with a random assortment of dolls and action figures," subplot was kind of played out ten years before this movie was made.
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Post by MarkInTexas on Nov 29, 2017 10:04:50 GMT -5
I saw this and literally had no idea it had anything to do with Christmas until the very ending when there's a shot of a Christmas tree since I happened upon it while flipping through channels a couple minutes after it started a thus missed the opening exposition explaining that, "Yes, this is kind of Christmasy." Even the fact that one of the toys accompanying them was in fact a Christmas ornament did nothing to making think it had anything to do with Christmas since kids will make toys out of the most random stuff (my own daughter at present pushes around a plastic jack o'lantern that she refers to as a baby in a doll stroller). As for the movie/special/short itself I thought it was pretty decent all things considered. The fact that they got the actual voice actors back for this was pretty decent and it was technically as impressive as any other Pixar fare but thought the script was kind of weak and the whole "video games are bad kids need to play with a random assortment of dolls and action figures," subplot was kind of played out ten years before this movie was made. I forgot to mention the Christmas tree ornament, but yeah, outside of the beginning, with Bonnie playing under the Christmas tree, and the end, with the gang back under the tree and Reptillus starring out the window at the Christmas lights, there is almost no mention of Christmas anywhere, other than a brief "and only two days since Christmas!" that either Buzz or Woody says to the main bad guy at one point. It might have made a bit more sense if Bonnie had taken at least one new toy (other than the cat ornament) with her, since it seems odd that she presumably got at least some new toys for Christmas, yet is still only playing with the toys we've already met. But I digress. Overall, I think this is an improvement on Toy Story of Terror, but the first half of that one is much stronger than anything in this special. Unfortunately, once what was happening is revealed, the second half turns into a blatant remake of Toy Story 2. The quality of this one is far more even. As for the voice actors, I'm guessing that Disney is willing to back up the money truck, and/or Hanks, Allen, et al. have such affection for their characters that they don't want anyone else voicing them, sort of like Joe Mantegna and Fat Tony (of course, Patrick Warburton voiced Buzz in the animated Buzz Lightyear of Star Command series).
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Post by MarkInTexas on Nov 30, 2017 17:30:51 GMT -5
Olive, The Other Reindeer (1999)
I've written several times before about the ephemeral nature of most Christmas specials. While a select few become legendary classics, and others become fondly remembered, the remaining are often forgotten only a few years after their debut. Many are designed to have a short shelf life, with only one or two airings before disappearing. That's even true of animated specials, which frequently become dated surprisingly quickly.
But not all vanished specials were intended to fade out so quickly. 1999's Olive, The Other Reindeer premiered on Fox with a huge amount of hype. It was based on a popular children's book, produced by Simpsons mastermind Matt Groening, and the title character was voiced by Drew Barrymore, coming off successful films like Never Been Kissed and Ever After. On top of that, it was actually good, with charming animation and a cute story.
All that hype didn't encourage many people to tune in. Olive finished fourth in its timeslot, behind not only NBC's then hit family drama Providence but ABC's soon-to-end kidcom Boy Meets World and even CBS's low-budget duo of Candid Camera and Kids Say the Darndest Things. Fox reran it a year later, at 9/8 Central after a Sesame Street special. This time, its ratings paled in comparison to the 13-year-old A Garfield Christmas, which CBS had reran earlier that evening. In 2001, Fox didn't bother scheduling Olive at all.
There really isn't a reason for the special to be so ignored. As I said, it was effortlessly charming, with Barrymore winningly voicing Olive, a Jack Russell terrier, who becomes convinced that, after an injury to one of Santa's reindeer, was personally requesting her to join his team. So she, with the help of a conman penguin named Martini (Joe Pantoliano) head toward the North Pole, while being persuied by an evil postman (Dan Castellaneta) whose hatred of Christmas leads him to determine to ruin the holiday for everyone.
Truth be told, they could have cut most of the postman plot out and have been just fine, especially since the special does feel a bit too long anyway. But its charm goes a long way toward covering up its flaws, and the voice cast (which includes Tim Meadows as a bus driver with another punny name, Ed Asner as Santa, Michael Stipe as a reindeer, and Futurama star Billy West as an eskimo) is excellent.
Olive, The Other Reindeer was, I suspect, intended to be Fox's annual holiday classic, their version of A Charlie Brown Christmas. Make no mistake, it's not nearly as good as Charles Schultz's classic, but it is definately one of the best of the more recent speicals that I've seen. It deserved to have a better fate. The good news, however, is that, thanks to the Internet, even the most ephemeral special has new life. Olive, The Other Reindeer is worth finding and checking out.
Next time: One of the few animated specials centering on African-Americans. Too bad it's awful.
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Post by MarkInTexas on Nov 30, 2017 17:32:18 GMT -5
And, before anyone asks, the next entry won't be Rapsittie Street Kids, whose existence I just learned about yesterday from Rabin's article. It's now on my list for next year, though.
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Post by MarkInTexas on Dec 2, 2017 9:40:28 GMT -5
A Cool Like That Christmas (1993)
When Irving Berlin wrote "White Christmas" in the early 40s, he of course wasn't referring to the casts of holiday specials. But he might as well have been. Throughout the history of the medium, nearly every holiday specials' human (and humanoid) characters or actors, live action or animated, have been as white as Frosty. Santa and his elves are almost always portrayed as white. Scrooge, Cratchit, and Tiny Tim are all white. Nearly all the characters in Rankin-Bass productions (as well as pretty much all the celebrities hired to sing and tell the stories) are white. Even the host of holiday musical specials, from Perry Como and Bing Crosby to Johnny Cash, Dolly Parton, and Carrie Underwood, are white, and generally perform with their white friends. With rare exceptions, characters of color are simply nowhere to be found, and usually, when they are, they're in a supporting role.
That's one of the things that made A Cool Like That Christmas so intriguing. Rather than be tokens or supporting characters in someone else's Christmas tale, this special put African-Americans front and center, at a time when pretty much the only mainstream animated series that had an African-American as the leading character was Fat Albert, which had been out of production for several years at that point. The makers of the special recruited a strong cast of African-Amercian actors, led by Tommy Davidson of In Living Color.
On paper, everything seemed promising. But, unfortunately, the special is a disaster. The problems start with Davidson's Orlando, a teen who pretty much speaks only in rhyming rap slang. Throughout the special, he says things like "My wallet is figgity figgity fat". That might be OK for a minor, comic relief character, but for the main character, it quickly becomes grating. He has two quests this holiday season--to find the perfect gift for his dad (who refuses to tell him what he wants) and to avoid being coerced into singing as solo at the church's Christmas service, since he'd perfer to sing on stage with Boyz II Men. Apparently, no one has ever told Orlando of the number of singers who got their start singing in church.
The show's major subplot involves Orlando's friend Marvin (Tone Loc) rather openly spending money out of a bag he found--money he, and everyone else, knows belongs to the local gangster. It's not a great subplot, but it's more entertaining than watching Orlando try to figure out what to give his dad, especially after he spends most of the contents of his figgity figgity fat wallet on new basketball sneakers for himself. To be honest, not even those subplots are enough to fill the 22 minute running time, as there's also a lengthy sidetrack from a local crazy guy who tells a long-winded story about his days in the Negro Leagues, not to mention the opening sequence, which goes out of its way to introduce Orlando's Bart Simpson-like little sister Jarvis (Dawnn Lewis), only to give her almost nothing to do for the rest of the running time.
Based on the time spent with minor characters who had nothing to do with the show's plot, the title, and the "Created by" credit in the opening, my guess is that A Cool Like That Christmas was a failed pilot. It makes sense, as 1993 was at the tail end of the first trend of prime-time animated sitcoms inspired by the success of The Simpsons. I'm assuming that Fox thought it might make a good companion piece to either that series or In Living Color--at least until they saw the episode. The "failed pilot" premise also makes sense given that Fox originally aired it on December 23, a burnoff date if I ever heard one. The fact that Fox surrounded it with reruns of The Simpsons and In Living Color also suggests that Fox didn't think much of the show.
It's a shame the show doesn't work, because it did truly have an excellent voice cast. In addition to Davidson, Tone Loc, and Lewis, the special also had Whoopi Goldberg, Reginald VelJohnson, Phil LaMarr, a one-word cameo by Patrick Ewing, and Boyz II Men as themselves. One of the (white) writers went on to get an Oscar nomination for co-writing Shrek, and the character designer would go on to create The Proud Family, a far-superior animated sitcom centered on African-Americans, which also starred Tommy Davidson. While since A Cool Like That Christmas, there have been numerous animated shows starring minority character, from the aforementioned Proud Family to The Boondocks, Christmas specials have remained nearly as white as they were before. If the special had been better, maybe that might have changed. Then again, there's no excuse for it not to have changed anyway.
Next time: Mouser, He Wrote
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Post by MarkInTexas on Dec 6, 2017 4:30:31 GMT -5
A Mouse, a Mystery, and Me (1987)
Murder, She Wrote was one of the most popular shows of the 1980s. The Sunday night staple starred Angela Lansbury as Jessica Fletcher, a famous mystery novelist who moonlighted as a serial killer an amateur detective. Every episode provided opportunities for faded stars of decades past to pick up a paycheck playing various suspects and victims.
Like any hit show, there were plenty of knockoffs, including Blacke's Magic, about a crime-solving magician, and Father Dowling Mysteries, about a crime-solving priest. But the most blatant rip-off, A Mouse, a Mystery, and Me, which was also about a crime-solving mystery writer, was probably also the strangest. Because, in this one-off Christmas special, the mystery writer was the titular mouse.
Specifically, the mouse was named Alex, and in this otherwise live-action special, was fully animated. Being a mystery-writing mouse, he was also fully anthropomorphic, wearing slacks, a sweater, and a coat, and talking with the voice of famed song and dance man Donald O'Conner, best remembered for his supporting work in Singin' in the Rain. He wrote best-selling mystery novels with the help of his partner, Jill (presumably the "Me" of the title and played by Darcy Marta), who, as the exposition dialog conveniently reveals, serves as the credited author of Alex's books. She and her assistant, Amy (Dinah Gaston) are the only ones who know the truth.
The plot kicks off when a department store Santa (Dick Van Patten) is kidnapped off the street. This comes after Santa has had a terse conversation with store owner Lloyd Bochner--who again in an exposition dump, reveals that "Santa" is his full partner in the store--and had yet another exposition-heavy conversation in the park with a little boy named Stevie (Bobby Becken). It's Stevie who witnesses Santa's kidnapping, and instead of running to the police or home to tell his mom, heads straight to the house of the local mystery writer, revealing, I guess, what he likes to watch on TV Sunday nights.
Even though its Christmas Eve, Alex is eager to take the case, and soon he, Jill, and Amy are tracking down clues at the store and other places. I should mention that the mystery isn't that challenging. There are very few suspects, and the show spends so much time building one character up as the most likely suspect that anyone even remotely genre-savvy will recognize that this person is innocent. But then again, this isn't really intended for the genre-savvy. This is for kids whose experience with mysteries probably has gone no farther than Scooby-Doo reruns, and for them, the identity of the villain might be a genuine surprise.
At any rate, my major complaint is not with the mystery, but with the mouse. It's admittedly unfair to look back at a 30-year-old TV special and complain about the special effects, but I just couldn't buy Alex existing in the real world. After the "live-action" Jungle Book remake, and even the adaption of Stuart Little, a hand-drawn animated mouse who is supposed to be "real" to the other characters just doesn't cut it. That said, I'm not sure what else they could have done, especially given that the special was produced by Ruby-Spears, a prominent animation house at the time, which was responsible for numerous Saturday morning cartoons of the 70s and 80s (and whose founders had created the aforementioned Scooby-Doo).
Given that there is nothing inherently Christmasy about a crime-solving mouse, I suspect that the producers hoped that A Mouse, a Mystery, and Me wouldn't be a one-off. Ratings must not have been particularly impressive, since there was never another mystery for Alex and Jill to solve. Ironically enough, this originally aired on a Sunday night, and as soon as it ended on NBC, what viewing audience there was could have switched to CBS to watch Murder, She Wrote (which, incidentally, all three of the adult male leads guest starred on at one point or another). This show was entertaining, but it wasn't a huge loss that there were no further adventures.
Next time: Another mouse, along with a cat and a cricket.
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Tellyfier
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Post by Tellyfier on Dec 6, 2017 4:42:59 GMT -5
Die Hard is a Christmas-adjacent movie, since with a minor rewrite, the story would work just as well on Mother's Day, or Halloween, or a random Tuesday in April. So then can you please explain to me how "Now I've got a machine gun. Ho-Ho-Ho!" one of the best jokes in movie history, works with a "minor rewrite". That is if you can find the time while misunderstanding the spirit of Christmas. You Sir are uninvited from the annual Christmas drunkboxing of Die Hard!
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Post by MarkInTexas on Dec 6, 2017 8:43:56 GMT -5
Die Hard is a Christmas-adjacent movie, since with a minor rewrite, the story would work just as well on Mother's Day, or Halloween, or a random Tuesday in April. So then can you please explain to me how "Now I've got a machine gun. Ho-Ho-Ho!" one of the best jokes in movie history, works with a "minor rewrite". That is if you can find the time while misunderstanding the spirit of Christmas. You Sir are uninvited from the annual Christmas drunkboxing of Die Hard! I didn't say the movie would be better if it wasn't set on Christmas Eve. I just said there's nothing about the plot that requires it to be set during the holidays. But for your reading pleasure, here are some ways the line could have gone if it was set during a different holiday: Now I've got a machine gun. Happy New Year--if you live that long. I had a dream. I got a machine gun. My dream came true. Roses are red, violets are blue, I got a machine gun and am going to kill you! Now I've got a machine gun. The luck of the Irish is with me! Now I've got a machine gun and am going to red, white, and blow your ass away! Now I've got a machine gun. Boo! Now I've got a machine gun. Gobble gobble!
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Post by ganews on Dec 6, 2017 9:13:28 GMT -5
A Mouse, a Mystery, and Me (1987)Like any hit show, there were plenty of knockoffs, including Blacke's Magic, about a crime-solving magician, and Father Dowling Mysteries, about a crime-solving priest. But the most blatant rip-off, A Mouse, a Mystery, and Me, which was also about a crime-solving mystery writer, was probably also the strangest. Because, in this one-off Christmas special, the mystery writer was the titular mouse. He wrote best-selling mystery novels with the help of his partner, Jill (presumably the "Me" of the title and played by Darcy Marta), who, as the exposition dialog conveniently reveals, serves as the credited author of Alex's books. Let's be fair, this is just as much a ripoff of "Ben and Me". Not to mention "Who Framed Roger Rabbit?"
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Tellyfier
TI Pariah
Unwarned and dangerous
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Post by Tellyfier on Dec 6, 2017 9:15:12 GMT -5
So then can you please explain to me how "Now I've got a machine gun. Ho-Ho-Ho!" one of the best jokes in movie history, works with a "minor rewrite". That is if you can find the time while misunderstanding the spirit of Christmas. You Sir are uninvited from the annual Christmas drunkboxing of Die Hard! I didn't say the movie would be better if it wasn't set on Christmas Eve. I just said there's nothing about the plot that requires it to be set during the holidays. But for your reading pleasure, here are some ways the line could have gone if it was set during a different holiday: Now I've got a machine gun. Happy New Year--if you live that long. I had a dream. I got a machine gun. My dream came true. Roses are red, violets are blue, I got a machine gun and am going to kill you! Now I've got a machine gun. The luck of the Irish is with me! Now I've got a machine gun and am going to red, white, and blow your ass away! Now I've got a machine gun. Boo! Now I've got a machine gun. Gobble gobble! All inferior. And what of the Christmas message of the movie, which is that giving is better than receiving, be it punches, bullets or defenestrations?
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Post by MarkInTexas on Dec 6, 2017 12:39:26 GMT -5
Let's be fair, this is just as much a ripoff of "Ben and Me". Not to mention "Who Framed Roger Rabbit?" Oh wow, Ben and Me. I had completely forgotten about the existence of that book/cartoon. I suspect "talking mouse makes friend with human" is generic enough that it can be considered a ripoff, but it was unoriginal in its unoriginality. My original draft mentioned Roger Rabbit (which came out about six months after this originally aired) in contrast, but ProBoards ended up eating the first version of this post ( ), and I couldn't remember exactly how I had worked Roger in when I rewrote it. It worked fine the first time, but the second time, I couldn't figure out how to get it in without sounding awkward and shoehorned in, so I dropped it. In Roger Rabbit, of course, the cartoons are supposed to be cartoons. My issue with the special is the same one I have with the original Pete's Dragon (but not the remake, which is excellent).
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Post by MarkInTexas on Dec 6, 2017 12:43:15 GMT -5
All inferior. And what of the Christmas message of the movie, which is that giving is better than receiving, be it punches, bullets or defenestrations? Well, they're supposed to be inferior. But you've convinced me. Die Hard is just as Christmasy as Miracle on 34th Street and Santa Claus: The Movie.
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Post by MarkInTexas on Dec 8, 2017 3:30:32 GMT -5
A Very Merry Cricket (1973)
When I was a kid, one of my favorite books was The Cricket in Times Square by George Selden. The book, which won the Newbery Honor in 1961, told the story of Chester, a field cricket from Connecticut who is accidentally transported to the New York City subway stop below the titular landmark. There, he befriends a mouse named Tucker and a cat named Harry, and, thanks to his prodigious musical talent, ends up bringing fame and fortune to the young boy who adopted him and to his parents.
I was (and still am) also a huge fan of Looney Tunes, though it wasn't until I started researching the history of animation in high school that I learned that many of my favorites had been directed by Charles M. "Chuck" Jones. Jones also directed maybe my all-time favorite Christmas special, How the Grinch Stole Christmas (which kicked off this entire project back at the old country in 2014).
Despite being a fan of both the book and of Jones, it wasn't until a few years ago that I learned that he directed a half-hour adaption of the book in 1973. The special streamlines the book, largely sidelining the human characters in favor of Chester, Tucker, and Harry (we don't even see the faces of any humans until near the end of the special), but it nicely captures the spirit of the novel. ABC, which aired the special that spring, must have been pleased, as they hired Jones to do a sequel for that holiday season.
Selden had written a sequel, Tucker's Countryside, which is unread by me, but based on the plot synopsis, it appears that Jones completely ignored it in favor of his own original story. A Very Merry Cricket certainly is an interesting achievement, at once being both more surreal and more conventional than its predecessor.
Jones makes the bold choice by, after the opening credits, starting the story proper with a sequence of cacophonous sounds and sights. Horns honk, giant red lights visually screech "Stop", kids get slapped, and the soundtrack blasts off-key renditions of Christmas music, occasionally punctuated by a maniacal-sounding choir singing "Jingle Bells". Through it all, a mechanical Santa mechanically wishes the many passersby a Merry Christmas. "Silver Bells", it is not. The sequence only lasts about 80 seconds, but is so discordant for viewers who were expecting a pleasant holiday special that it could have easily alienated audiences--especially easily frightened kids--before the special had really even started. This is not to say I didn't like it. To the contrary, I thought it was fascinating and original. Unfortunately, it raised expectations that the rest of the special was unable to follow up on.
After that bravura opening, the rest of the special largely settles into conventionality. Harry (Les Tremayne) and Tucker (Mel Blanc) lament the lack of Christmas spirit in the air, and decide their old pal Chester (also Tremayne) is the only one who can bring goodwill to men back to NYC. So they hop on a train to persuade him to come back for a visit. Most of the business in Connecticut (which constitutes about half of the special) is concerned with Harry and later Chester having to outwit a local cat (Blanc again) determined to make Tucker his dinner. This is stuff we've seen done--and frequently done better--in a thousand other cartoons.
Once they get back to the big city, the action picks back up as it turns out that Chester's music has no impact. However, since this is a Christmas special, there has to be a happy ending, which comes in the form of a dues ex machina of a citywide blackout. It should be noted that this was made several years after the relatively peaceful 1965 blackout, but the idea of a blackout being a positive development would be exposed only three and a half years later when the blackout of 1977 plunged the city into chaos. Still, for audiences in 1973, the blackout allowed for Chester's concert to be heard by all, in another bravura animated sequence.
Overall, I did enjoy the special, but I do wish that the excellent bookends weren't sandwiching a rather dull middle. It isn't as good as The Cricket in Times Square, and miles below How the Grinch Stole Christmas. Still, the risks that Jones did take make A Very Merry Cricket worth watching.
Next time: One of the most legendary stars ever, in a special he did so he could direct one of the most legendary choirs ever.
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Tellyfier
TI Pariah
Unwarned and dangerous
Posts: 2,552
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Post by Tellyfier on Dec 8, 2017 7:31:36 GMT -5
All inferior. And what of the Christmas message of the movie, which is that giving is better than receiving, be it punches, bullets or defenestrations? Well, they're supposed to be inferior. But you've convinced me. Die Hard is just as Christmasy as Miracle on 34th Street and Santa Claus: The Movie. That's quite the relief. You're back with the Defenders Of The True Meaning of Christmas! On probation.
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Post by MarkInTexas on Dec 10, 2017 10:16:11 GMT -5
Mr. Krueger's Christmas (1980)
James Stewart made his film debut in 1935. By the time he marched off to fight in WWII 7 years later, he was one of the top stars of Hollywood. He would end up becoming the living symbol of all-American wholesomeness. This would be used to great effect by directors like Frank Capra, and to even better effect by directors like Alfred Hitchcock, who happily subverted Stewart's image while allowing the audience to happily follow him into some dark and disturbing places.
By 1980, Stewart was largely retired. However, he did accept an offer to star in a half-hour special produced by the Church of Jesus Christ of Latter Day Saints, mainly because the script called for him to conduct the Mormon Tabernacle Choir, apparently a lifelong dream of his. So that's how one of the most legendary stars of Hollywood's Golden Age came to play the title role of Mr. Krueger's Christmas.
Stewart plays Krueger, a maintance man at a fancy Salt Lake City apartment building who murders teenagers in their drea...oops, wrong Krueger. In reality, this Krueger is a lonely widower who frequently imagines a better life for himself--getting fawned over by the staff at an upscale clothing store, leading the aforementioned Mormon Tabernacle Choir, even meeting the newborn Christ child. A couple of times, he allows his imagination to overtake his reality, such as when he kisses the hand of a visitor to his dingy apartment, while imagining he lives in a grand mansion.
There's not a lot of plot, as a good chunk of of the special is given over to his daydreams. What plot there is doesn't really kick off until roughly a third of the way through the special, when Krueger invites a group of carolers in for a visit in a supremely awkward scene. The scene is actually rather heartbreaking, as we can tell just how little the carolers (with one exception) want to be in his apartment and how eager they are to get out of there. It's clearly a logical reaction (Krueger is way too anxious to make a good impression), but still, given that we know how sad and lonely he is--and that he's being played by Jimmy Stewart--the scene does tug at the heartstrings.
Of course, this being a Christmas special being produced by a religious organization, there isn't going to be a sad ending, and so after some more daydreams (including a visit to Bethlehem, where Stewart delivers a heartfelt monologue), he gets invited to Christmas Eve dinner and the hope that his new friends don't forget about him by the 26th.
For a special produced by a church, it's not nearly as proselytizing as I was expecting. Of course, there is the extended visit to the manger, and there is a concluding voiceover about Jesus and love, but the special does largely restrain from the hard sell, and there isn't anything in it specific to Mormonism, as the sentiments are generic Christian sentiments shared by nearly all denominations and branches. That works to the special's advantage, since it gives it a much more universal feel than a more Mormon-specific story would have.
If a lesser-known actor had starred in Mr. Krueger's Christmas, odds are that it would have fallen almost compeltely into obsecurity by now. Instead, thanks to Jimmy Stewart, it's still remembered. It's not his finest acting performance, but it was more than enough to elevate this.
Next time: A comic creation of the 60s finds herself animated in the 90s.
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Post by MarkInTexas on Dec 16, 2017 8:27:46 GMT -5
Edith Ann's Christmas (Just Say Noel) (1996)
I'm not sure exactly when Lily Tomlin came up with Edith Ann, her precocious 5 1/2 year old who sits in an oversized rocking chair and delivers humorous and philosophical takes on her life, but the character first came to prominence on Laugh-In in the late 60s. After that show ended, she continued to play the character on Sesame Street, through (if IMDB is to be believed) 1988. The character was still well-known enough in 1994 for ABC to give Tomlin two animated specials (still unseen by me) about the character, and those must have gone well enough that the network ordered an Edith Ann Christmas special for 1996.
I have no doubt that Edith Ann's Christmas (Just Say Noel) was intended to be a family program. ABC aired it during the first hour of primetime, right after the Doug Christmas show. However, I've heard it said that works that realistically explore childhood aren't really appropriate for children, which makes sense because this is reasonably realistic, and may be the least kids-appropriate kids special I've ever seen.
The plot revolves primarily around two things--Edith's teenage sister, who has run away after a huge fight with her parents, and the school Christmas pageant, held in honor of a classmate injured in a drive-by shooting. Merry Christmas? The weirdness starts right away. By the four-minute mark, we've seen a news story about how awful Edgetown, the city Edith Ann's family lives in is, followed by a report about the poor kid who was shot--along with his dog. Then, there's a shot of Edith Ann's teenage sister's bare butt, the better to see the new tattoo on her buttcheek. This leads to the fight sequence, which is cleverly conceived and impressively animated, but seems staggeringly out of place in what is supposed to be a Christmas special aimed at kids. Then again, nearly everything about this thing seems staggeringly out of place in what is supposed to be a Christmas special aimed at kids.
Irene, the sister, hits the streets after this fight, and after getting kicked out of her friends' tattoo parlor (in a show of tough love), apparently spend the night on the mean streets of Edgetown, in a couple of scary scenes that should keep the kids watching from ever wanting to run away from home but don't really convey much of the holiday spirit these specials usually have.
The play, which is a retelling of the Nativity scene using kindergartners (there's a couple of lines thrown in about why a public school in the 90s is allowed to do such a religious play) provides much of the comic relief, as plays-in-shows that involve little kids almost always do. Even here, things can get a little odd as we take time out of the play prep for a lengthy scene between Edith and one of her teachers about Edith's guilt about Irene running away. This sequence, along with another one later in the film, may be one of the final times that a sympathetic character in a kids (or, in this case, "kids") program is allowed to be a smoker, even though an anti-smoking message is made prettily explicit. But the teacher smoking is just one of the many lines in the film that I suspect that Tomlin and Jane Wagner, Tomlin's personal and professional partner and the writer of the special, thought made it sound more realistic, but just comes across as awkward. Other lines of this type include "Daddy's been sober a year now and this could drive him back to drink" and "We are all hoping that she is still a virgin".
We do get to see the play, and it's, of course, a disaster, and that's before Edith Ann decides to rewrite the Book of Luke. Her impromptu revision causes the audience, who is there to see a play put on by kindergartners to help an injured classmate, to murmur angerly, causing Edith to come out and explain herself, which (along with appearance of a dog) leads to a standing ovation. Then again, we then get another emotional whiplash, but that sort of gets resolved at the end--maybe.
I don't want to make the special sound bad, because as odd as it is, it's a long way from awful. What it is, however, is weird. Who in their right minds thought this would be appropriate for kids? Even more flabbergasting is that it won a Peabody Award. Again, I don't think it was bad, but a Peabody?
From the punny title on down, Edith Ann's Christmas (Just Say Noel) is one of the odder specials I've seen. It appears to remain the final incarnation--at least on film--of Tomlin's classic character. It wasn't a bad way to go out, but it sure was weird.
Next time: One of last year's more annoying movies begats one of this year's more annoying specials.
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Post by MarkInTexas on Dec 22, 2017 20:15:44 GMT -5
So I had hoped to be posting my final entries this weekend. Since I have eight write-ups to go, that won't be happening. I do have several days off from work, so I'm hoping to get several entries out this weekend, and be done by New Year's Eve. Will it happen? I don't know, but let's hope for a Festivus miracle.
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Post by MarkInTexas on Dec 23, 2017 8:40:36 GMT -5
Trolls Holiday (2017)
As the producers of The Emoji Movie and The Star can attest, it's not easy making an animated blockbuster these days. So I have to give a little bit of credit to the people behind last year's Trolls, which grossed over $150 million domestic and nearly $350 million worldwide, despite being based on toys that were last popular during the Clinton administration and having a relentlessly grim storyline lurking beneath all the bright colors and perky covers of pop songs.
Trolls is a product of DreamWorks Animation, which really likes giving its features half-hour holiday special sequels. Hence, only a little over a year after Trolls hit the big screen, we now have Trolls Holiday.
Like prior DWA specials Kung Fu Panda Holiday and Dragons: Gift of the Night Fury, Trolls Holiday takes place in a world where Christmas doesn't seem to exist, even though the Trolls seem to know the music and lyrics to every song that's ever charted. That's OK, because the Trolls have lots and lots and lots of holidays, and Queen Poppy (Anna Kendrick) happily sends a holiday picture to her best friend Bridget (Zooey Deschanel), who is a Bergen, the ogre-like creatures who used to dine on the Trolls before deciding that singing and dancing with them was more fun.
For whatever reason, however, the Bergens have reverted to the status quo of being miserable, and Poppy decides that its because they don't have any holidays to celebrate. So, she enlists her boyfriend Branch (Justin Timberlake) and her other friends to visit Bridget and her boyfriend, King Gristle (Christopher Mintz-Plasse), to try to get them to adopt a new holiday of their own.
Like the movie, this is all bright and cheery and filled with music and colors. And, like the movie, this all feels a bit empty. Poppy is incredibly annoying throughout the special. Granted, she's supposed to be over-the-top, but still, the message could have come across if she had dialed it down a notch. The film's main original song, the sequence where Poppy demonstrates the various holidays she's come up with (most of which seem to involve copious amounts of glitter), is mildly fun, but altogether too frenetic.
Actually, "mildly fun, but altogether too frenetic" is a good way to describe the special overall. It's a bit of an improvement over the movie, but the whole thing still feels less like a movie and more like an excuse to sing pop stars and show bright colors and sell some toys.
Needless to say, there's a happy ending. Again, oddly for a Christmas special, the big musical number at the end isn't a Christmas song, but a popular song from the 80s that has nothing to do with Christmas, but does have an appropriate title. So I guess it's a Christmas song now, though not really.
I'm not really sure what to make of Trolls Holiday. It's not good, not by any conventional standards, but it is bright and energetic. As far as needless spin-offs to needless movies go, I guess this one is tolerable enough. At least it's not Boss Baby's First Christmas, which come to think of it, will probably be DWA's special for next year.
Next time: A band mostly known for Christmas music produces an unconventional concert special.
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Post by MarkInTexas on Dec 24, 2017 9:54:55 GMT -5
The Ghosts of Christmas Eve (1999)
There are two musical acts that I can think off offhand that are primarily associated with Christmas music and not much else. One is Mannheim Steamroller, whose Wikipedia entry states they are known for "blend(ing) classical music with elements of New Age and rock, and for its modern recordings of Christmas music." That said, Mannheim Steamroller didn't release its first Christmas album until nine years and 5 records after its debut album, and have released numerous non-Christmas albums since.
On the other hand, the other Christmas act, Trans-Siberian Orchestra, seems to have set out to be the Christmas group, and has largely succeeded. Its debut album was Christmas Eve and Other Stories, and it ran from there. To be fair, of the six full-length studio albums the group has released, three of them aren't Christmas-related, but even so, if you want to see it perform live, you're not going to have much luck in May.
By 1999, the group had grown popular enough to be able to engage in what has become an age-old tradition by musical groups--making a Christmas special. The Ghosts of Christmas Eve has many of the traditional aspects that have peppered Christmas musical specials for years. There are special guest stars, a light narriative, and lots of Christmas music. However, in this special, those elements are blended together in a rather unique way.
The primary storyline does not involve the band at all, but rather, a nameless teenage runaway (Allie Sheridan) who breaks into a seemingly-abandoned theater on Christmas Eve night, looking for a place to stay. However, the theater is watched over by The Caretaker (Ossie Davis, who also narrates), who after finding her conveniently dropped diary, in which she expresses her wish to go home, treats her to a series of ghostly performances.
As The Caretaker explains, she's not freaked out by the complete stranger sitting next to her showing her these images because this all might be All Just a Dream--a dream that includes Jewel (then close to the peak of her popularity) showing up to sing "Hark the Herald Angels Sing" and the original Phantom of the Opera Michael Crawford singing "Oh, Holy Night". While most of the special consists of The Runaway and The Caretaker watching the performances on the stage, there is one extended (and elaborate) music video sequence for "Christmas Eve/Sarajevo 12/24".
How much you'll enjoy this depends on both your tolerance of rocked-up Christmas classics and rather ponderous poetry. Davis was a marvelous actor, who helps ground the somewhat overwrought words he has to deliver. Given that he has all the dialogue of the special, that's a pretty impressive accomplishment.
I'm not a big fan of Trans-Siberian Orchestra, but I have to admit I enjoyed The Ghosts of Christmas Eve. I liked it wasn't afraid to try something different with the musical Christmas special. It's kind of cheesy and definitely overwrought, but darn it if the climax didn't move me.
Next time: Two 70s adaptions of the same poem
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Post by MarkInTexas on Jan 2, 2018 10:10:17 GMT -5
So much for getting this done before New Year's...
I still have five entries to write (originally six, but I realized that I could write one entry about two specials I was planning separate entries on, which would make a more effective compare-and-contrast between the two of them). So, my new goal is to be done by MLK Day. Hey, that's a holiday! And it's only two weeks after New Year's, so it's still technically the holiday season!
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Post by MarkInTexas on Jan 18, 2018 11:06:26 GMT -5
So MLK Day has come and gone...
At this point, I think I'm going to wait and do all of the last five entries in July. We'll see if I can actually stick to it.
In the meantime, I'm trying to decide what holiday to do a week-long series of later this year. Are there enough Independence Day specials out there?
Anyway, see you on July 1 with the first of A MarkInTexas Made-For-TV Christmas in July 2018.
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Post by MarkInTexas on Jul 1, 2018 20:11:28 GMT -5
A MarkInTexas Made-For-TV Christmas In July
Every Sunday for the next 5 weeks, I'll be posting a new write-up of a classic (or "classic") Christmas special or two. First up, Two 70's adaptions of the same poem...
'Twas the Night Before Christmas (1974)/'Twas the Night Before Christmas (1977)
There is no poem in the English language more well-known than Clement C. Moore's A Visit From Saint Nicholas, better known today as 'Twas the Night Before Christmas. Virtually every line in the poem is iconic, and its description of Santa Claus shaped the way we continue to picture him today. The primary issue for people wanting to adapt the short is its brevity. Santa's visit probably lasts only a few minutes, long enough for a theatrical short, but certainly far shorter than the running time of a network special.
The producers of two specials from the 70s based on the poem mostly solved that problem by coming up with an original story, and regulating the actual reciting of the poem to the end. While the two specials have different stories, there are a number of similarities, including a harried father figure, a turn-of-the-century setting, a know-it-all kid, and even an actor in common.
By far the most famous of the specials is the 1974 half-hour special, produced by Rankin-Bass with cell animation rather than their trademark stop-motion style. It was a holiday staple on CBS for over a decade and is now available on DVD and runs a few times a year on Freeform. The special is told and sung by Joel Grey, a couple of years removed from his Oscar win for Cabaret, though much of the heavy lifting is actually done by character actor George Gobel, who plays Father Mouse. There's an odd trend in many R-B specials to present Santa as a jerk, but 'Twas the Night Before Christmas takes it to an extreme, as Santa blackballs and entire town over a letter in the local paper declaring him not real (this in a world where the existence of Santa is an acknowledged fact).
The special has a weird anti-intellectual beat, as the villain of the piece is nerdy teenage mouse Albert (Tammy Grimes), who is the author of the original letter and later messes up the clock that Grey's clockmaker had built in order to get Santa to forgive the town. Upon learning of his son's letter, Father Mouse immediately breaks out into "Give Your Heart a Try", which suggests that we should believe in leprechauns and the Easter Bunny instead of just relying on our brains (of course, this is a world with talking mice and Santa, so leprechauns and the Easter Bunny might actually exist. But I digress). Oddly, the special walks that back somewhat with the other big number, "Even a Miracle Needs a Hand", which is a paean to planning and hard work.
Of course, there's a happy ending, as Santa does forgive the town, and goes about his business while Grey recites the poem (meaning everyone pretty much just ignores how much of a dick Santa was). As R-B specials go, it's far from the weirdest or the darkest (The Cricket on the Hearth, where three characters are straight up murdered, takes the cake for both), but it's still plenty odd.
At least the 1974 Christmas was well-cast and got to stick around. The same couldn't be said three years later when ABC debuted its one-hour, live-action 'Twas the Night Before Christmas, which also featured an impressive cast. Unfortunately, for the lead role of a harried-but-loving father, the special cast Paul Lynde, who nailed the "harried" part, but didn't seem the least bit "loving" to the brood of kids running around the set, his mother (Alice Ghostly, who was all of three years older than Lynde), or his wife (Anne Meara). That might have worked if the writers had supplied him with some choice one-liners, but mostly, Lynde sits around looking exasperated at the events unfolding around him.
There's not much of a plot to the special, as Lynde has to navigate a hectic Christmas Eve, with four kids who refuse to go to bed, the oldest daughter who is determined to prove that there is no Santa, various bickering in-laws, a peddler (Gobel) who shows up and for some reason never leaves, a mischievous cat, and a young neighbor (Anson Williams, who, aside from the kids, is the youngest cast member by 20 years) who pops in to lead a singalong. A few songs are sung, the kids scream at the top of their lungs, Ghostly keeps talking about the mice in the house, which may or may not have been a dig at the animated competition, and finally the cat escapes, forcing Lynde to climb around a roof set trying to get the thing down. This all finally leads to Lynde apparently making up the original poem on the spot. His reciting of the poem is easily the best part of the show, and if the rest of the special had had that amount of energy, it might not have fallen immediately into obscurity. Instead, ABC, disappointed with the reviews and the ratings, shelved the special after its one showing.
While it's a little inexplicable why two different networks in the mid-70s decided a special based on the poem was necessary, it's understandable why they wanted to cash in on such a familiar (and public domain) work. Of course, as it's been proven elsewhere, blowing up a slight story into an hour (or even half-hour) special means there has to be a lot of filler, and it's rare that the filler is anywhere near as entertaining as the source material. That holds true for both 70s 'Twas the Night Before Christmases.
Next Sunday: A meta special from a Simpsons writer.
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