Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.

As we arrive at Christmas Eve, and therefore the final day of this year’s calendar, today’s forgotten classic is one that has perhaps become a new festive favourite of mine. And also one that I knew nothing about before researching and watching for the calendar. Behind the final ‘door’ – put a quote/ saying you feel applies for this – of this forgotten Christmas classics calendar is 1952’s The Holly And The Ivy.

Based on the stage-play of the same name (with writer Wynward Browne co-writing the screenplay with Anatole de Grunwald), The Holly And The Ivy largely revolves around the traditional idea of a rather dysfunctional family returning home for Christmas. The leading figure of the Gregory’s is devout vicar Martin (Ralph Richardson), deeply faithful he’s fixed on the true meaning of Christmas and the sermon he will deliver on Christmas Day. It’s the kind of thing daughter Jenny (Celia Johnson) hears all day every day as she looks after her father and his house, despite wanting to run away and be married to local engineer and family friend David (John Gregson). The restraint that she feels is felt by everyone else as they arrive one by one, in quick succession. With this in mind tensions rise and re-rise as it’s revealed just who doesn’t hold religious beliefs anymore, and the personal problems that certain faces are going through.

From initial civil disagreements to complete disapproval and arguments each of the children is made to feel put down and almost shamed of by their father, over the course of a long Christmas Eve. What initially feels like a standard Christmas of distant family reacquaintances, a feeling which is lightly kept throughout in the presence of elderly Aunts Bridget (Maureen Delaney) and Lydia (Margaret Halston), delves into a set of personal dramas, particularly when Jenny’s sister Margaret (Margaret Leighton) arrives with her own truths and secrets, and the personal burden of alcoholism which she’s trying to hide from the family, particularly her father.

It’s difficult for each figure to focus on the goodwill and family presence of the season with their own respective worries and focuses. Despite some attempts many, mainly the children, get caught up in their own personal feelings and fears at how their father will behave and react, all while he prepares for his Church service the next day. The tree may be lavishly decorated and the fire warm, yet the white coldness of the thick snow outside, lining the windowpanes, lightly draughts in to the situation and adds a coldness to each situation, despite the lack of conversation and confrontation which is (or rather isn’t) occurring.

Yet, there’s still a spark of family festivities present within the piece. A group who have come together, some travelling far distances – with son Michael (Denholm Elliott) somehow obtaining a couple of days of compassionate leave from the army – to celebrate Christmas together. There are certainly rifts on display, a fair few deeper and more long-held than the standard dysfunctional family. But, the film doesn’t forget the Christmas season and that Christmas Day itself is just around the corner, a feeling which is present throughout much of the short run-time – a feeling which both heightens the drama and the family feel and heart of the film.

The Holly And The Ivy can be watched in the following places:
Amazon
iTunes/ Apple TV
Google Play
YouTube
Or, you might be able to find a physical copy somewhere. To see if the film is available to buy, rent or stream anywhere else, particularly in your country, it’s always worth checking JustWatch.

Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.

After the last couple of days of looking at family relations and charitable goodwill in and out of the home at Christmas today’s calendar entry jumps back towards the start of the week build-up to Christmas by taking a look at a growing workplace romance. A (slight) musical remake of previous calendar entry The Shop Around The Corner, 1949’s In The Good Old Summertime.

As has already been deduced, due to it appearing on the Alternative Christmas Film Advent Calendar, the title of The Good Old Summertime is somewhat deceptive. While the bookend opening and close take place at the height of summer the majority of the narrative takes place in the build up to Christmas. It’s a time when plenty of people are buying presents for their loved ones, however they all seem to be avoiding the harp-filled music shop of Otto Oberkugen (S.Z. Sakall). It’s all well and good being able to walk in and hear a song performed live on piano by store-favourite Andrew (Van Johnson) and sung by new employee Veronica (Judy Garland), however not everyone can read sheet music or play an instrument.

Yet, amongst the slight chaos and disorder of what’s being sold there’s a tight unit amongst the floor staff who have built a close bond over the years. One which, for most, isn’t disturbed with the addition of Veronica, who is employed after a chance, somewhat negative, encounter with Andrew earlier on. The relationship between the two becomes as frosty as the increasingly cold weather outside, particularly as they begin to compete for the affection of both the customers and their boss. However, behind the scenes; without either figure knowing, they’re months-long pen pals having written numerous poetic, romantic letters to each other discussing art, literature and many other in-depth, serious, intellectual topics that the other just couldn’t even begin to comprehend in real life.

The film makes the most of the Christmas setting through the standard seasonal kindnesses that are on display by various characters, and the standard workplace hopes for Christmas promotions or good bonuses, but also to boost the romantic relationship, and also lack of it, between the two central figures. The feeling runs throughout with other potential love interests, an only slightly referenced beat or two involving Buster Keaton’s lightly-seen Hickey, and the more prominent inclusion of Marcia Van Dyke’s Louise Parkson; and other seasonal relationships playing into the narrative with the boost of Christmas adding a spring into a number of the characters’ steps. Especially when attending a party of various festivities – not to mention the distractions and missteps.

As Christmas gets ever closer and the situation of the shop, and its employees, becomes more uncertain the sense of unity amongst the staff grows stronger, particularly as at least one or two of their futures in the workplace become a matter of question. Perhaps it’s an idea further pushed by the decorations which spread throughout the store, the tree with all its ornaments by the piano where so many of the musical ‘rivalries’ and bites have taken place. Either way by the time the finale arrives, truly putting the context of Christmas on full display, there’s a true festive romance within the wintery confines of In The Good Old Summertime.

In The Good Old Summertime can be watched in the following places:
Amazon
iTunes/ Apple TV
Google Play
Chili
YouTube
Or, you might have a physical DVD (maybe even Blu-Ray, VHS, Betamax or LaserDisc – if availably on such formats) copy somewhere that you can watch. To see if there are any other places where the film is available, particularly to buy, rent or stream in your own country, I recommend checking it out on JustWatch.

Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.

After spending Christmas at home and in the workplace let’s take a further shift with this year’s calendar as we look at the spread of festive goodwill in the open streets in 1951’s The Lemon Drop Kid.

As Bob Hope and Marilyn Maxwell strolled through the busy, snow-covered New York City streets, past various false-bearded charity collectors, singing Silver Bells I found myself feeling a sense of Christmas spirit that I haven’t felt for a long, long time. The scene coincidentally occurred just as midnight of December 1st had arrived – perhaps boosting the effect of the moment. It comes in a moment of calm where everything appears to be going right for Hope’s titular Lemon Drop Kid (although ‘Kid’ might not always fit Hope’s lemon-drop-lacking Sidney Milburn, especially as he was nearing 50 towards the release of this film). In fact, the successful charity collectors are largely collecting for him. Under the guise of raising money for an old people’s home, Milburn is secretly trying to collect the thousands of dollars he owes to a local gangster (Fred Clark) who he caused to bet on the wrong horse in the build up to Christmas.

Already owing money to various other figures Milburn assembles a team to go along with his scheme so that he’ll have what he needs before his Christmas deadline. However, as more figures are brought in to the piece, mostly in aide of helping a local old woman they all appear to have a connection to (Jane Darwell). The kind-hearted spirit of seasonal helpfulness increases and runs rife throughout the film as a bigger effort is put in and the money shifts from being raised for Sidney’s scheme to actually being used for the retirement home that everyone has their hearts put into – named after their mutual connection, The Nellie Thursday Home For Old Dolls.

In general the film increases and spreads the Christmas spirit it holds as it travels along its path. Through the humour that comes from the efforts of Hope’s character, as his heart too becomes set on more charitable causes, and the work other characters are, initially with suspicion for what the Kid really wants, putting in there’s plenty to get hooked on in terms of festive cheer and warmth. It’s certainly a film to take you by surprise when going in to it, particularly if you know nothing about it. All simply adding to the overall tone, style and feeling as an unlikely group comes together to dress as Santa, ring bells, sing carols and raise money for those in need. It’s perhaps a traditional Christmas path and theme now, but it’s still effectively put together throughout The Lemon Drop Kid. Maybe it’s down to Hope’s central performance, and maybe it’s just the increase air of festivity and goodwill throughout. Either way, there’s a sense of warmth to the film that catches you up in its lack of cynicism, without feeling overly tacky or sentimental.

The Lemon Drop Kid can be found in the following places:
Amazon
Microsoft Store
Or, you might have a physical copy of the film available to watch. To see if there are any other places to watch the film, and to see where it’s available to buy, rent or stream in your country, it’s always best to take a look at the film on JustWatch.

Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.

After yesterday’s look into an unwanted house guest in The Man Who Came To Dinner, today let’s take a glance at a different kind of Christmas guest, that of the entirely unknown one, as the Calendar presents 1950’s The Great Rupert.

The titular Great Rupert is a squirrel (taking both live-action and stop-motion animated form) living in the walls in-between the house of wealthy Frank Dingle (Frank Orth) and into the cramped living space of the Amendola family, who are renting, with increasing prices, from Frank. The fortunes of the Amendolas begin to turn around when the rarely-seen Rupert rains Frank’s money – hidden in the walls of his house – from the ceiling, although the family are unaware of the source of the money and the squirrel, they simply view this as an act of God; answering their Christmas prayers.

Soon the poor family, led by former circus performers Louie (Jimmy Durant) and Mrs Amendola (as Queenie Smith is simply credited as), come into increasing fortunes and begin to help out struggling businesses in the nearby town. While baffling Frank, who finds the Amendola family a disturbance to the calm routine of his life, he’s certainly happy with the money that’s coming in for him – particularly when it appears as a form of present on Christmas Day, with extra added on. Yet, cares are largely forgotten about on the big day as the two families, despite their differences, gather around he piano to sing and perform. Durant particularly puts on a vaudeville persona as the film almost becomes something of a variety show. Echoing TV of Christmases past with a more traditional feel and one act moved swiftly on into the other. Such a feeling arises a number of times throughout The Great Rupert, yet there’s a jovial feel to each one as the cast, particularly Durant in the lead, appear to relish the opportunity to perform in this way and show off their skills.

Such moments also allow for Amendola daughter Rosalinda (Terry Moore) to further spark a gradual relationship with restricted Dingle son, and aspiring composer, Pete (Tom Drake). After first meeting when the family move in, rather promptly, after an old performing friend (Jimmy Conlin) of theirs has been kicked out so close to Christmas after not being able to afford rent due to the money he’s put in to his new act (Rupert the, occasionally-kilt-donning, dancing squirrel – this being where the stop-motion comes in to play, with a look and effect which still manages to hold up over 70 years on).

Over it’s short run-time the film generally emits a feeling and tone of seasonal goodwill, particularly as the Amendola family’s situation turns around and things vastly improve for them over such a short amount of time. When the vaudeville elements are mixed in there’s a very traditional feel to the film in terms of not quite Christmas films, but generally performances and maybe TV specials, of the past. It’s a slight throwback and reminder to them, while still managing to capture a rather enjoyable tone within such sequences and moments, often thanks to Durant’s energy and style as he’s in his element behind the piano, or whenever generally performing. There’s a very traditional nature to The Great Rupert, shown in the general simplicity that it holds, and more often than not it manages to push the kind-heartedness of the good-natured central family and the festive spirit which they appear to emit and hold closely.

The Great Rupert can be watched in the following places:
Amazon
iTunes/ Apple TV
Google Play
Plex
YouTube
Or, you might have a physical copy of the film somewhere. To see if the film’s available in any other places, or to see where you can buy, rent or stream it in your own country, it’s best to check JustWatch.

Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.

After taking a glance at the workplace and getting ready for time off for Christmas let’s take a step in a different direction with today’s potentially forgotten classic Christmas film. Let’s prepare for the inevitable guests and family members by taking a look at 1942’s The Man Who Came To Dinner.

Sheridan Whiteside (Monty Woolley – providing gift enough with his smashing facial hair alone!) is perhaps the worst kind of guest you would want taking up the entire downstairs floor of your home, particularly if you’re then excluded from it. It’s the fate that Ernest (Grant Mitchell) and Daisy (Billie Burke) Stanley find themselves meeting when the famed New York radio personality slips on ice outside their home before a publicity meal with the pair. Threatening to sue them otherwise he commands the house with his authoritative voice as if it’s his own and transforms the festively decorated living room into his own personal office and work space; with the help of his eye-rolling, yet confined, assistant Maggie (Bette Davis).

While providing plenty of excellent, often uncaring, asides and insults – “my Great-Aunt Jennifer ate a whole box of candy every day of her life. She lived to be a hundred and two and when she had been dead three days she looked better than you do now” – it’s clear that the brilliantly performed, and now wheelchair-bound, Whiteside is far from a pleasant character. He creates a very civil kind of havoc within the Stanley’s home, creating disorder and a change to the standard dynamic that seems to have been so peaceful and orderly up until now. Particularly when it comes to the young adults who come in and out of the place, thinking about their own futures and feeling somewhat restrained by their father. The place almost begins to feel like an unrecognisable luxury zoo, and not just because of the penguins running around.

In some respects there’s a slight vein of good within Whiteside and his actions and the effects that they have, although in most cases only initially. Yet, his mind is firmly set on his own status, reputation and gain, particularly in the build-up to his annual Christmas message broadcast. A heightened affair which he clearly relishes for the attention which it gains him, boosting his reputation at this most charitable time of year. His ‘public’ persona throughout the film is very much one of faux seasonal goodwill.

Throw into the mix Maggie’s growing relationship with newspaper owner Bert (Richard Travis) one or two other blossoming festive romances there’s plenty of standard Christmas conventions on display when it comes to such relationships. It contrasts with Whitehead’s views and attitudes where he seems intent on keeping Maggie working for him as long as possible, doing what he can to stop her from quitting, simply because of how much work she actually does for him. There’s a clear divide amongst a number of the characters, and clearly one that goes beyond just the Christmas season. Conflictions are obvious and it certainly creates cold tensions between various figures to match the weather outside the house, which caused Sheridan’s injury in the first place. It may reflect out worst-case scenario feelings and ideas about friends, family and general guests over the Christmas period, or it may make us very thankful that we simply don’t have to put up with anyone quite like the inflated celebrity personality of Sheridan Whiteside.

The Man Who Came To Dinner can be watched in the following places:
If you don’t have a physical copy of the film available/ anywhere then it’s always well worth checking JustWatch to see where the film might be available to buy, rent or stream in your country.

Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.

Just before we enter the week of Christmas let’s continue yesterday’s theme of workplace festivities by selecting a slightly different job-focused Christmas film in the form of 1955’s We’re No Angels.

While the title is perhaps more often linked to the 1989 Robert De Niro, Sean Penn starrer – a very loose remake of this particular film – the 1955 We’re No Angels features the faces of Humphrey Bogart, Peter Ustinov and Aldo Ray as Joseph, Jules and Albert respectively, a trio of escaped prisoners hiding in a small town, hoping to avoid the eye of searching officers after their recapture. However, instead of going back to lives of crime the two murderers and thief find themselves coming under the approaching spirit of Christmas by enacting upon various acts of goodwill. Particularly towards shop owner Felix (Leo G. Carroll), who finds himself delving deeper into financial struggle, heightened by the worry of the return of the shop’s owner (Basil Rathbone).

Initially fixing a hole in the roof of the shop the central three figures, gradually kitting themselves out with clothing slightly more fashionable than dirty prison garments, eventually find themselves helping to decorate the house on Christmas Eve, and indeed prepare (even if slightly stolen) dinner for the family who is putting them up. There’s a good and kindness seen in them as conversation and connections grow, especially when it comes to Felix’s daughter Isabelle (Gloria Talbott). Decorations may take a little bit of time to be put up, although certainly changing the look and warmth of the shop and home when they finally are on display, but once they are the spirit of Christmas is certainly present amongst the characters as they all appear to celebrate properly for the first time in a number of years. Forgetting their troubles and worries, until the eventual arrival of Rathbone’s Andre.

He’s a figure much like any Christmas-film antagonist. The complete opposite of the spirit of the season, and intensely focused on work and money. However, there’s an increasing sense of unity amongst those working in the shop – including the three fugitives – as they attempt to tackle the situation, each after having shown various kindnesses to the others from slightly different walks of life. What’s on display is not so much a redemption story, but simply one of seasonal goodwill; with the feeling that it may last beyond just Christmas. The film certainly carries its fair share of traditional Christmas feature elements and it’s easy to get caught up within them as the characters set out on their various acts of kindness, realising what they’re, almost naturally, doing more and more as the film goes on.

We’re No Angels can be watched in the following places:
Amazon
iTunes/ Apple TV
Google Play
Microsoft Store
YouTube
Or, you may have a physical copy available. To find out any other places the film is available, or where you might be able to buy, rent or stream it in your country it’s always well worth checking JustWatch.

Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.

To ease into this year’s calendar, and prepare for the nearing time off work, why not start the week building up to Christmas with the most recent of the forgotten classics? Going back to 1957 with Spencer Tracy, Katharine Hepburn led rom-com Desk Set.

Dread or await it in many places the eventual office Christmas party is inevitable. In Desk Set it comes alive as the otherwise divided up branches in the tower block offices of television network FDN (Federal Broadcasting Network) merge into one space to drink, sing and generally celebrate. It’s the festive core of the film which has been building up to that point – decorations gradually spreading across the research department, led by Katherine Hepburn’s Bunny. Throughout the rest of the year the phones ring almost non-stop with questions for the team of four women (including Joan Blondell, Dina Merrill and Sue Randall), who overflow with instant memorised knowledge from their expansive reference library.

However, there’s a coldness to the season as Spencer Tracy’s Richard Sumner unexpectedly turns up one day to transform the research department into one giant computer, leading to money saved for the network and job losses for the employees. Yet, despite the initial fear of a pink layoff slip instead of a gift, goodwill begins to spread; particularly as Bunny and Richard become better acquainted with the spirit of Christmas growing as the day draws nearer. It’s as the season becomes more present in the second half of the film, and key involvement of a present leads to the formation of one or two developments in the third act, that Christmas truly becomes more a part of the piece overall, it acts as the turning point for both better and worse when it comes to the fates of those in the research department.

Particularly for Bunny as she grows closer to Sumner, despite her years-long relationship with network executive Mike Cutler – although every time she’s been expecting a proposal she’s been knocked back more and more. It’s a common theme or plotline to be found in Christmas films and it’s certainly present within Desk Set, particularly as it nears the week of Christmas where, as mentioned, many of the pivotal moments of goodwill, and indeed knockback, take place; largely within the confines of the warmly-lit and highly festive research department, contrasting with the highly metallic nature of Sumner’s computer.

As characters gradually warm to each other and put a stop to the workplace cold shoulders there’s an echo of plenty of other seasonal character shifts, relationships and changes for the better. It’s certainly in place here and makes for a traditional feel within Desk Set which captures the festive spirit; alongside the more joyful, communal elements of the key nearly-time-off office Christmas party.

Desk Set can be watched in the following places:
Amazon
iTunes/ Apple TV
Google Play
Sky Store
YouTube
Or you might have a physical copy of it available somewhere. To see other places where you can rent or stream the film, particularly in your country, it’s always worth checking JustWatch.