Late one snowy Christmas Eve, influential rich guy Daniel Grudge (Sterling Hayden) is visited at his mansion by his nephew, history professor Fred (Ben Gazzara, ROAD HOUSE), who confronts him about having blocked a cultural exchange program at the university. Their philosophical argument turns into yelling. After Grudge chews his nephew out and tells him to leave, Fred smiles and dryly says, “Merry Christmas, by the way.”
This somewhat legendary 1964 TV update of Charles Dickens’ A Christmas Carol was directed by Joseph L. Mankiewicz, his followup to CLEOPATRA and only small screen venture. But the obvious voice here is writer Rod Serling, five years after starting The Twilight Zone, sticking with his favorite trick of using genre as a vehicle for heart-on-sleeve pleas about contemporary social issues.
We learn that Grudge’s son Marley was killed in combat on Christmas Eve. This is the source of Grudge’s dislike of Christmas, but also his isolationism. He sees liberals as people who get American military men killed:
“Every few decades we seem to pay for your indiscriminate affections with the lives of our sons.”
But Fred sees it as trying not to get anybody killed: “Those indiscriminate affections as you put it are simply the acknowledgment that all men have sons. That grief for the unnecessary dead is not exclusive to this country, this town or to the House of Grudge.” (read the rest of this shit…)
or “What I Did With Charles Bronson On My Summer Vacation”
I guess I got a nuanced view on these Robert Zemeckis “mo-cap” movies. I think he’s kind of delusional if he really thinks this is the future of movies, and I was complaining about the creepiness of attempted realism in POLAR EXPRESS (and earlier in FINAL FANTASY) long before it was a common complaint with the name “uncanny valley.” When it comes to being creeped out by dead-eyed computer animation, I’m NWA and mainstream critics are Ja Rule or somebody.
