Cast: Robert Montgomery, Lloyd Nolan, Audrey Totter, Leon Ames
Credits: Producer: George Haight; Director: Robert Montgomery; Writers: Steve Fisher and Raymond Chandler; MGM; 1947
Christmas films and film noir seemingly go together like oil and water: Christmas celebrates the birth of a morality and spirit of love that permeates the universe, a universe of hope and redemption. Film noir, on the opposite end of the cosmic scale, celebrates the ambiguity and breakdown of morals and ethics in an unfeeling, uncaring universe. Christmas praises the potential for good residing in every person; film noir projects the evil pit into which even the good can fall.
Lady in the Lake came oozing like a puddle of dirty oil into theaters in 1946, right after the end of World War II. The MGM film starred Robert Montgomery (Night Must Fall, Here Comes Mr. Jordan) as existential detective Phillip Marlowe with Audrey Totter (The Set-Up, The Postman Always Rings Twice) portraying the crafty leading lady (and potential femme fatale). Produced during the Hollywood golden noir era of The Maltese Falcon, The Big Sleep and Murder, My Sweet, Lady in the Lake becomes an experimental film noir in more than one way. Directed by star Robert Montgomery, the film stylistically reminds the viewer of the slasher horror movies of the 1970s and ’80s, with the entire film photographed subjectively showing Marlowe’s (Montgomery’s) point of view throughout the movie. The only time we see Marlowe’s face is when it is reflected in a mirror, and the viewing audience sees (first-hand) all the nuances and deceptions recorded in the cast’s face as Marlowe confronts each character with sarcastic and cynical questioning and comments. The cinematic gimmick is interesting, but ultimately it grows limiting and tiresome, mainly because good acting involves interaction between characters, and while we hear Montgomery’s clever lines, we usually see only one other actor visually and verbally react to such dialogue; we seldom see actors interact with each other (instead ensemble groups, such as the boys at the police station, react to Marlowe and not each other).
The Christmas theme (to provide visual and moral contrast to the noir world of desperation, hopelessness and defeat) envelops the film from the very beginning. Above the MGM logo we hear Christmas bells chime and the standby “Jingle Bells” sound. The movie credits are cleverly conceived as a pile of Christmas cards slowly being revealed; after the last credit is finished, the card is lifted to reveal a black pistol. Even “The End” credit at the finale features the Three Wise Men following the Christmas Star. In typical film noir fashion, the opening narration, establishing the deadpan vocal delivery of Phillip Marlowe, reminds the viewer that it is only three days before Christmas. Marlowe, speaking directly to the audience, offers “Maybe you’ll solve it quick, and maybe you won’t... Let me give you a tip... you have to watch them all the time.” The movie reaches its dramatic climax on Christmas Day, when the case is finally solved.
Lady on a Train
Cast: Deanna Durbin, Ralph Bellamy, Edward Everett Horton, George Coulouris, Allen Jenkins
Credits: Producer: Felix Jackson; Director: Charles David; Writers: Edmund Beloin and Robert O’Brien (Based on a Story by Leslie Charteris); Universal; 1945
Deanna Durbin was one of the favorite actresses of film fans during the 1940s. She uses her full charms in this mystery movie when she sees a murder committed and, with the help of a mystery writer, tries to solve the murder. Durbin sings “Silent Night” in this film set during the holiday season in New York.
The Lemon Drop Kid
Cast: Bob Hope, Marilyn Maxwell, Lloyd Nolan, Jane Darwell, William Frawley
Credits: Producer: Robert L. Welch; Director: Sidney Lanfield; Writers: Edmund Hartmann, Frank Tashlin and Robert O’Brien (Based on a Story by Edmund Beloin and Damon Runyon); Paramount; 1951
The Lemon Drop Kid, much like Damon Runyon’s fictional realm, is populated by charming scoundrels, showgirls with hearts-of-gold and tough-talking mugs who get teary-eyed with the mention of their mother. Add to the charming story a delectable mix of Hollywood veteran character actors (adding weight to the “they had faces then” theory) and the personable schnoz of funnyman Bob Hope and you have a delightfully silly holiday farce that tickles the funnybone and managed
to introduce a classic Christmas song at the same time (“Silver Bells” by Jay Livingston and Ray Evans).
Hope stars as the Lemon Drop Kid, a small-time crook who constantly pops lemon drops. He’s working the Florida tracks touting races (the Kid covers the entire race by convincing gullible bettors he somehow knows who the winner is going to be and the happy bettors agree to split their win with the Kid. He does this for each horse running-he can’t lose). But lose he does when he pulls the con on a dumb doll who just so happens to be the girlfriend of Moose Moran (Fred Clark), a big-time gangster who doesn’t like being laughed at. Of course the horse the Kid talked the girl out of betting on wins and the Kid now owes Moose 10 grand by Christmas Eve.
The Kid goes to New York to put the touch on his friends, but they are few and far between. The Kid, still attired in his spiffy white Palm Beach suit, battles the blustery wind and snow of New York City. Hope puts his unique brand of physical humor to good use in these scenes, one of which has the wind blow him around a corner and two little girls have to help him forward, and another as he mugs a little dachshund, Fifi, for its dog coat. The Kid runs into old friend Nellie Thursday (Jane Darwell) and tries to put the touch on her, but she has troubles of her own. The landlord is threatening to throw her out into the street and, when her dear husband Henry is released from prison Christmas Eve, they will have nowhere to go.
Having no luck with Nellie, the Kid goes to see girlfriend Brainy Baxter (Marilyn Maxwell). The last time she saw him he pawned her fur coat and headed for Florida without her. But she’s still a sucker for the Kid and he manages to get 10 bucks from her for a marriage license: “I’d do anything to be worthy of you. I’d even get a job!” the Kid pleads; Brainy doesn’t realize she’s been tricked until the Kid is out the door. The Kid next tries to tap Oxford Charlie (Lloyd Nolan), who has problems of his own with the IRS.
Fresh out of luck and with Christmas rapidly approaching, the Kid sees a bell-ringing Santa and gets an idea. Soon he’s attired in a pathetic Santa suit and scraggly beard ringing for dear life beside a kettle with the words, “Save a Life” above it. A cop hauls him before a judge for collecting money without a license. The judge gives him 10 days or $50. Meanwhile the Kid runs into Nellie who’s been arrested for trying to get her possessions from her apartment. He manages to convince Brainy to bail him out (she has to borrow the money from Oxford Charlie) and, while waiting in jail, is visited by Sam the Surgeon (Harry Bellaver), a henchman of Moose Moran. The Kid has now hatched a surefire scheme to get the money. He explains to the Surgeon that he’s going to get a license and collect money for the Nellie Thursday Home for Old Dolls, but the home will be in Moose’s closed-down casino. Even Sam the Surgeon is shocked, “This is the most legal double-cross I’ve ever heard. You gonna dump all those nice old ladies out on the street at Christmas time?”
But the Kid is trying to save his own neck and has no qualms about throwing those nice old dolls into the street. He manages to convince all the riffraff that Nellie has helped to pose as Santas and collect for the home. Kid takes Nellie and some other unfortunate old ladies to the casino and tucks them into their nice warm beds-well, nice warm crap tables that have wrestling mats on top of them. The room is wired for raids: When you push a button all the gambling equipment slides into walls and quickly disappears.
The Kid supervises his squadron of sad-sack Santas as they prepare to begin their collection. Characters with names like Straight Flush (Jay C. Flippen), Gloomy Willie (William Frawley) and the Super Swedish Angel (Tor Johnson) hit the streets for Nellie. When a little girl tosses a coin into the kettle of Gloomy Willie, she asks him, “Are you going to bring a doll?” Willie answers, “No, my doll’s working Christmas Eve.”
The Kid is pleased with his scheme and he and Brainy stroll the snow-covered streets of New York collecting the money (Brainy thinks this is on the level). They duet on “Silver Bells,” one of the few non-Irving Berlin Christmas songs to be introduced in a film that went on to become a holiday standard. The direction in this scene is truly impressive. Helmer Sidney Lanfield manages lovingly to illustrate the brotherhood and goodwill among men and women that occurs during the Christmas season, as his camera focuses on people of all backgrounds sharing the special glow that the holiday brings.
Brainy, who works for Oxford Charlie, quits the show to manage the old ladies and the home. She tells Charlie how much the Kid has managed to make in just two days. Charlie decides to muscle in on the action and kidnaps the old dolls and Brainy, and he takes the money the Kid had hidden in a statue. Willie and the Kid find a footprint in the snow, which leads them to the conclusion Charlie is up to no good.
They high-tail it to Charlie’s where Nellie and the old ladies plead for the Kid’s help. “Kid, save us, we’re prisoners. Mrs. Feeney tried to call the police and they hid her false teeth!”
But Charlie tells Willie that the Kid has been playing them and Brainy for suckers and convinces them to work with him. The Kid sneaks out the door. Later Nellie tries to pawn her wedding ring, but a hand reaches out and stops her. The Kid has a plan. “Look Nellie, a bunch of swell guys collected a lot of money for you. I’m not going to let a cheat, chiseler and crook gum up the works.”
He has Nellie round up the boys and take them to the courthouse, and he infiltrates the home disguised as an old lady. His theft of the dress is another funny bit that uses Hope’s comedy ability to good advantage. He sneaks into the home and manages to steal the money back while knocking out Charlie.
The Kid meets Moose at the casino on Christmas Eve and hands over the money. Oxford Charlie arrives and claims the money. Things look bad for the Kid but he hits the switch and the casino comes to life, stocked by Nellie, the old dolls and the hoods, all gambling with glee. The cops bust in and arrest Moose and Charlie.
Things end happily as Henry, Nellie’s husband, arrives home and Brainy and the Kid kiss. Ice cream and cake cap off the Christmas Eve celebration.
Bob Hope plays true to his screen persona as a wise-cracking hustler whose turnaround at the end of the film is just a little questionable. Did he realize how much Nellie and the other ladies needed a home, or did he just manage to figure out a way to get out of his predicament and keep everyone happy?
Hope, still at the peak of his popularity, had the year before completed Fancy Pants (1950) with Lucille Ball and the following year would continue the Road series with Bing Crosby and Dorothy Lamour in Road to Bali (1952). Bob Hope’s overseas tours during the wars often overshadowed his film work in the public’s eye, which is too bad, for Bob Hope helped to create many classic Hollywood comedies including The Ghost Breakers (1940) and My Favorite Brunette (1947). Hope would also capitalize on the sparkling chemistry between himself and Bing Crosby in their seven Road pictures, as well as turn in a stunning performance as Eddie Foy in The Seven Little Foys (1955).
Marilyn Maxwell, who appeared with Hope in two other films (Off Limits and Critic’s Choice), also entertained troops overseas during WWII and the Korean War.
William Frawley, who would become known far and wide as Fred Mertz on I Love Lucy, had been in the first film adaptation of this Damon Runyon story in 1934, appearing as The Professor with Baby LeRoy and Lee Tracy.
The March 7, 1951 Variety review of the film was rather harsh noting, “Although it has a number of entertaining and amusing qualities, The Lemon Drop Kid is a disappointing picture. It is neither true Damon Runyon, from whose short story of the same title it was adapted, nor is it very funny Bob Hope.”
While the film is lacking in true sentimentality found in other Runyonesqe films such as Lady for a Day and Sorrowful Jones (remade as Little Miss Marker), chuckles still abound and the staging of the “Silver Bells” number alone makes the film worthwhile holiday viewing.
Life and Adventures of Santa Claus
Cast: (voices) Earl Hammond, Earle Hyman, Larry Kenney
Credits: Directors: Jules Bass and Arthur Rankin, Jr.; Writer: Julian P. Gardner; Rankin-Bass; 1985
This animated television special tells the story of the origin of Santa Claus. Based on the L. Frank Baum story.
A Lion in Winter
Cast: Peter O’Toole, Katharine Hepburn, Timothy Dalton, Anthony Hopkins, Jane Merrow, Nigel Terry, John Castle
Credits: Producer: Martin Poll; Director: Anthony Harvey; Writer: James Goldman; Based on his Play; Cinematographer: Douglas Slocombe; Music: John Barry; Avco Embassy; 1968
“What shall we hang, the holly or each other?”-King Henry II
This film could be listed as a slice-’n’-dice film, but the slicing and dicing is done with the tongue in this historical salute to the ultimate dysfunctional family-King Henry II (O’Toole), his imprisoned wife Eleanor of Aquitaine (Hepburn) and their three conniving, back-stabbing sons: Richard the Lion-Hearted (Hopkins), Geoffrey (Castle) and John (Terry). The family gathers for a Christmas holiday which is also attended by King Philip of France (Dalton) and Henry’s mistress (who is also Philip’s sister) Alais (Merrow). It is difficult to follow the slings and arrows of outrageous fortune while this dueling family battle for supremacy as Henry prepares to name his successor. Eleanor schemes with Richard, John and Jeffrey plot with Philip, Richard conspires with Philip (his former lover), Jeffrey connives with Eleanor, Henry uses Alais as a bridal pawn for the victor, Eleanor takes perverse pleasure in wounding Henry and on and on.
The writing is of 1940s caliber-witty and biting, while the acting is absolutely superb. If during the holiday season you think you can no longer bear another family event, watch this film-you’ll soon appreciate your own family.
The Lion, the Witch and the Wardrobe
There are three versions of this classic tale. One was done by British television (Director: Marilyn Fox; BBC 1988; Cast: Richard Dempsey, Sophie Cook, Jonathan Scott, Sophie Wilcox) and ran in the U.S. on PBS; it is available on video. The other is an animated feature (1979, directed by Bill Melendez), also available on video. In 2005 Disney released The Chronicles of Narnia: The Lion, The Witch and the Wardrobe starring Tilda Swinson as the Witch and Georgie Henley as Lucy. The budget was over $180 million dollars for the beloved children's tale. The film would win an Academy Award for makeup. The 2005 film is beautifully made and rivals the other Brit Lit based fantasy films, although the wolves may be too frightening for younger children as may be the final battle scenes.
The story concerns the adventures of four children who visit the magical land of Narnia where an evil queen has made it forever winter, but never Christmas. When Aslan returns and the the White Witch begins to lose her control over winter, the children meet Father Christmas/Santa Claus and are given presents that will save many lives when they battle the forces of the White Witch and her evil minions for Narnia.
The Little Drummer Boy
Cast: (voices) Jose Ferrer, Paul Frees, June Foray, Ted Eccles, Greer Garson
Credits: Producers/Directors: Jules Bass and Arthur Rankin, Jr.; Writer: Romeo Muller (Based on the Song by Katherine Davis, Henry Onorati and Harry Simeone); Rankin-Bass Productions; 1968
The television special based upon the popular Christmas song. The little drummer hates all people and only finds comfort in his drum and his animal friends. The special tells the story of how he overcame his hatred and gave his own special gift to the Christ child.
Little Women
In 1868 Louisa May Alcott earned a place in the heart of any young woman who has ever picked up a copy of the endearing novel detailing the four loving March sisters coming of age. That novel was, of course, Little Women, whose irresistibly warmhearted Christmas scenes have earned the film versions a place in this volume.
I remember discussing Christmas with my mother, and she sadly remembers a Yuletide when we received only one small present each. While this still caused her a tinge of sorrow many years later, my brothers and sisters and I don’t remember any Christmas not overflowing with gifts and love. As we grow older, we realize the spirit and best memories of Christmas don’t involve presents under the tree, but the affection and warmth of family and friends. This feeling is wonderfully put forth in the novel and transfers beautifully to the screen.
Alcott was born November 29, 1832 in Germantown, Pennsylvania. Her family later moved to Massachusetts, where her Concord home and her dear sisters were the inspiration for her most famous work. Like Jo in Little Women, Louisa May Alcott had three sisters: Anna, Lizzie (who, like Beth in the novel, died at age 22 from scarlet fever) and Aba. Alcott also had a brother who died in infancy. Her family was very progressive for the times and Alcott was an ardent feminist who was very active in the suffrage movement-which makes the political correctness of the 1994 film adaptation seem almost destiny.
Little Women was originally published in two parts. The first, Meg, Jo, Beth, and Amy was published in 1868; and the second part, Good Wives, saw print the following year. While the novel and film versions cover several years in the girls’ lives, the opening Christmas tale is a charming and delightful look at the sisters who, rather than spend their hard-earned money on themselves, buy gifts for their dear mother Marmee. On Christmas morning the girls eagerly sit down to a hot breakfast, only to learn their mother has gone to help a poor family who have no heat or food. The girls agree to give their Christmas breakfast to the family, although Amy, the youngest, while a tiny bit reluctant at first, soon enters into the spirit of giving and becomes quite proud of herself for being so unselfish.
The first film version of the novel was the 1918 silent feature starring Dorothy Bernard as Jo, Henry Hull
as John Brooke and Conrad Nagel as Laurie. Dorothy Bernard was a popular silent film star who worked for D.W. Griffith. She appeared in films such as The Cricket on the Hearth and The Girl and Her Trust. Henry Hull was a relative newcomer to the silver screen in 1918 (his first film was 1917’s The Volunteer), although he would go on to have a successful career as a character actor. Little Women was the first screen appearance of Conrad Nagel. The handsome matinee idol would go on to make 225 films.
The second film version is the most critically acclaimed. 1933’s Little Women starred Katharine Hepburn and was directed by George Cukor, who helmed such classic films as Camille with Greta Garbo, Dinner at Eight with John Barrymore and Jean Harlow, Gaslight with Ingrid Bergman, The Philadelphia Story with Katharine Hepburn, Cary Grant and Jimmy Stewart and A Star is Born featuring the outstanding Judy Garland in perhaps her finest film performance (1954). The film would garner several Academy Award nominations including Best Picture, Director, and Writing (adaptation). However it would only earn the golden trophy for writers Victor Heerman and Sarah Y. Mason. The Best Picture and Director awards were won by Cavalcade, a film that traces the lives of a British family. While not nominated for her performance as Jo, Katharine Hepburn would nonetheless win the Oscar that year for her performance in Morning Glory.
The screen adaptation is delightfully close to the novel, often quoting the girls’ dialogue line for line. As the film opens a heavy snow is falling on Concord as Mrs. March (Spring Byington) goes about her work at the Commission House. She helps an old man who is traveling to Washington to visit his son in a war hospital there. He tells her he had four sons; two of his boys were killed and the other is a prisoner. She realizes how lucky she is to have her four girls even though her husband has joined the troops fighting the Civil War. The audience is then introduced to Meg (Frances Dee) as she leaves her job as nursemaid to three children. And then there’s Jo. The audience gets its first glimpse of Jo (Hepburn) whose job is as a companion to grouchy old Aunt March (the always amusing Edna Mae Oliver). Jo tiredly reads aloud until the old lady dozes off and then sneaks up the stairs hoping to get out early since it is Christmas Eve. Aunt March is awakened by her parrot and catches Jo, who manages to keep her annoyance under control and meekly accepts a gift of a dollar from Aunt March for each of the sisters. Amy, the youngest (Joan Bennett), is being punished for drawing a picture of the headmaster on her slate. She is made to stand in front of the class, her slate reading “I am ashamed of myself.” Amy manages to evade punishment and leaves the room with her head in the air, telling the other girls that her mother would be displeased at the way she is treated. This scene is also used in the 1949 version, although in the novel Amy is a model of decorum and is well-liked by the other students. Another girl did the drawing during class.
Beth (Jean Parker), who stays at home and helps with the housework, is trying to play on the old piano even though several keys don’t work. She sings a little song as she awaits the arrival of her sisters. The three girls arrive home, Jo happily giving Beth her present from Aunt March. Their mother, whom they call Marmee, comes into the room as the girls are giggling and discussing their recent Christmas play rehearsal. She reads them a letter from their father, who refers to them as his little women. They decide rather than spending their dollar on themselves, they will buy presents for Marmee. Later that evening they hem a sheet and sing a song before retiring.
The next morning Jo, Beth and Meg sneak down the stairs to place their precious gifts at their mother’s place at the table. They hear a door open and quickly stand in front of the gifts, but it is only Amy who, ashamed of the size of the perfume she bought for her mother, had gone out early to exchange it for a larger bottle. Their mother has gone to see a poor mother of six who has just given birth to another baby. She returns home and the girls delightedly show her the gifts. She then asks them to give up their breakfast for the poor children and the entire clan packs up the food and troops over to the woman’s home. She calls them “good angels” as they set about feeding the family.
Later that evening the girls put on a play for a rapt audience, but pandemonium reigns when the audience is swallowed up in a cot substituting for chairs and scenery falls about Jo and Amy. Hannah (Mabel Colcord) calls them to supper, and they are delighted to find ice cream and four bouquets of flowers sent from their neighbor, Mr. Laurence, who has heard of their kind deed.
Katharine Hepburn is indeed wonderful as the exuberant Jo and physically fits the character to perfection. Alcott describes Jo as “very tall, thin, and brown, and reminded one of a colt; for she never seemed to know what to do with her long limbs, which were very much in the way. She had a decided mouth, a comical nose, and sharp, gray eyes, which appeared to see everything, and were by turns fierce, funny, or thoughtful.” Hepburn deftly manages to capture Jo’s tomboyish ways but still gives viewers a glimpse of Jo’s depth of feeling and sentiment. Hepburn was 26 when she portrayed Josephine March. Mordaunt Hall of The New York Times in his review summarized her performance with: “Miss Hepburn goes darting through this picture without giving one a moment to think of her as other than Jo.”
Frances Dee, who played the oldest Meg, was also 26 at the time of filming. Little Women would be her most famous film appearance although she is also remembered as Betsy in Val Lewton’s I Walked With a Zombie. Not only did she appear in Little Women in 1933, but she married actor Joel McCrea that same year. They remained married 57 years until his death.
Beth was played by Jean Parker, whose first screen appearance was in 1932. She went on to appear in Bluebeard with John Carradine, Beyond Tomorrow and The Ghost Goes West with Robert Donat. As Beth, Parker had a quiet sensitivity that drew viewers to this sweet character.
Joan Bennett was 23 when she played the part of 12-year-old Amy. Bennett had have a long film career but became known for her film noir roles in films such as Scarlet Street and The Secret Beyond the Door. She drew an even larger cult following as Elizabeth Stoddard, matriarch of the Collins clan, in the TV horror-soap opera Dark Shadows. Bennett’s best scene as Amy was rehearsing the play with Jo-Amy was a notoriously bad actress and Bennett does a suitably comical turn feigning a pathetic thespian. The New York Times noted, “Miss Bennett’s interpretation is one of her best.”
RKO spared no expense on sets by art directors Hobe Erwin and Van Nest Polglase and costumes by Walter Plunkett. The score was composed by the incomparable Max Steiner, whose work on The Big Sleep, Casablanca, Gone With the Wind and The Searchers made him a film legend.
In 1949 MGM released the third interpretation of the tale, which was directed by Mervyn LeRoy 
and featured an all-star cast including June Allyson as Jo, Janet Leigh as Meg, Elizabeth Taylor as Amy and Margaret O’Brien as Beth. The film also starred Peter Lawford as Laurie, Rossano Brazzi as Professor Bhaer, C. Aubrey Smith as Mr. Laurence, Mary Astor as Marmee (quite a long way from her marvelously evil femme fatale in The Maltese Falcon) and Leon Ames as Mr. March (Ames portrayed the father in another stellar holiday film, Meet Me in St. Louis).
Filmed in Technicolor, art directors Cedric Gibbons and Paul Groesse and cinematographers Robert Planck and Charles Schoenbaum made excellent use of color and lighting, particularly in the opening scenes, to portray the snug and loving March home. Marmee, surrounded by the girls, reads a letter from Father as the fire glows warmly dispelling any trace of the family’s hard times while enchanting viewers who become emotionally involved in the lives of this devoted family. Planck and Schoenbaum earned an Academy Award nomination for their work while Gibbons and Groesse would actually win the Oscar for Art Direction of Little Women.
The Christmas scenes stick closely to the book, although in the film version the girls receive their precious dollar from Aunt March (Lucile Wilson) rather than having earned it working. On Christmas morning they decide to give their breakfast to the poor family on their own, whereas in the book their mother asks them to be charitable.
June Allyson leaped from the Broadway stage in Best Foot Forward directly onto the silver screen in 1943 for the Hollywood version of the play. She was suitably tomboyish and perky as the rambunctious Jo-bounding over fences and dueling fierce opponents in the girls’ amateur productions. Allyson was 32 when she played the part of 15-year-old Jo. Variety noted in its review of the film: “...June Allyson shows that there is meat in the role for more than one actress. Her thesping dominates the film... On the basis of this pic, Miss Allyson is ready for major dramatic assignments.” Allyson would take that step away from musicals to throw her hat into the dramatic ring in films such as The Glenn Miller Story, The Opposite Sex and Strategic Air Command.
Janet Leigh made her film debut in 1947 at the age of 21, appearing in The Romance of Rosy Ridge. She would have six films premiere in 1949 including Holiday Affair and Little Women. Leigh’s work in musicals and comedies would be overshadowed by her Oscar-nominated performance as Norman Bates’ infamous shower victim in Alfred Hitchcock’s Psycho. Leigh brings the right touch of young womanhood to her character of 16-year-old Meg, who is the voice of reason when Jo and Amy indulge in a sisterly squabble.
The youngest but by far the grandest sister (in her mind, at least), Amy (Elizabeth Taylor), sleeps with a clothespin on her nose so the nasty girls at school won’t make fun of her and chastises Jo for being so boyish. Taylor, at 17, played the youngest March sister in a curly blonde wig and with a sweetly funny superior air that fit prissy little Amy perfectly. Taylor made her film debut in There’s One Born Every Minute (1942) with Hugh Herbert, Guy Kibbee and Peggy Moran but gained notice with her role as Velvet in MGM’s extremely successful National Velvet (1944).
But the most heart-tugging sister in this version was without a doubt Margaret O’Brien as the shy and doomed Beth. Margaret O’Brien began her film career at the ripe old age of four in Babes on Broadway. She would steal American’s heart with roles in such films as The Canterville Ghost, Lost Angel, Our Vines Have Tender Grapes, The Secret Garden, Tenth Avenue Angel and, of course, Meet Me in St. Louis in 1944. Margaret O’Brien was 12 when Little Women was released. Her character Beth was 13 years old in the novel. O’Brien’s uncanny ability to make audiences believe any scene she ever played only made the sad death of Beth all the more poignant.
Of the film Variety noted: “Metro mobilized its potent studio resources and combined a star constellation for its unstinting remake of Louisa May Alcott’s Little Women... The lot has come through with a handsome, tasteful Currier & Ives delineation of those times and mores in personal terms.”
Little Women again resurfaced, this time as a television movie in 1978. The cast was filled with television celebrities including Meredith Baxter Birney (Bridget Loves Bernie) who starred as Meg, Susan Dey (Partridge Family) as Jo, Eve Plumb (Brady Bunch) as Beth and Ann Dusenberry as Amy. Dorothy McGuire appeared as Marmee and Mr. March was portrayed by William Schallert (The Patty Duke Show). The cast even boasted William Shatner (Star Trek) as Professor Bhaer.
In 1994 Little Women would 
again receive the Hollywood treatment. This updated version benefits from the more appropriate casting of the March sisters with actresses closer in age to the girls depicted in the book, as well as opulent costuming (nominated for an Academy Award), and an all-star cast consisting of Susan Sarandon, Winona Ryder, Gabriel Byrne, Claire Danes, Kirsten Dunst and Mary Wickes, who was once again typecast, this time as feisty old curmudgeon, Aunt March.
This modern version treats us to not one but two Christmas scenes, taking liberty with the novel, but adding emotional depth to the story with slight changes.
Little Women opens with a Christmas wreath being hung on a door, while a horse-drawn sleigh glides along a snow-covered road as laughing children pull a Christmas tree down a path. Evergreen garlands decorate the front of the March house as the girls gather. The camera is a Peeping Tom looking through a falling snow into the warm yellow glow at the loving family inside.
On Christmas day the girls exclaim with delight over the feast before them-sausages, baked apples, bread and butter. Hannah (Florence Patterson) sends Jo (Winona Ryder) to fetch Marmee (Susan Sarandon) who has gone to help the Hummels. “May as well take a stick of firewood for they haven’t got any, or breakfast either.”
Beth (Claire Danes) thinks aloud, “Perhaps we could send the Hummels our bread.” “May as well send the butter too. Butter’s not much use without bread to put it on,” Jo answers. Meg (Trini Alvarado) offers the sausage and apples and little Amy (Kirsten Dunst) reluctantly hands over her precious orange. As the girls carry the breakfast down the snowy path, Jo sees their neighbors Mr. Laurence (John Neville) and his grandson Laurie (Christian Bale) and calls “lovely weather for a picnic.” Meg chastises her for speaking improperly, but Laurie seems delighted. The sisters sing “here we come a wassailing” as they laughingly head for the Hummels.
Christmas evening Laurie stares at the March house as shadows of the girls pass the attic window. The sisters, dressed in men’s clothes and hats, are having a meeting of the Pickwick Society and reading from their newspaper, The Pickwick Portfolio. Jo paces dramatically as she reads her latest story. They begin to discuss Laurie and gather at the window to gaze upon him playing piano, alone on this Christmas evening. They wistfully wish for better times.
Christmas season is still being celebrated when Jo and Meg prepare for a party at the home of Belle Gardiner (Corrie Clark). Jo’s dress is scorched so she must keep her back to the wall the entire evening. Meg’s shoes are too small and Jo manages to burn off her front curls when she is helping Meg get ready.
At the party Jo, trying to avoid an eager dancing partner, stumbles into an alcove where Laurie is hiding and they become fast friends.
Time passes quickly. Meg has made the acquaintance of John Brooke (Eric Stoltz), Laurie’s tutor; Beth has been sick and Mr. March has been wounded in the war. But the family happily prepares for another Christmas. Meg, Jo and Amy, along with Laurie, two of his college friends and Mr. Laurence, laugh and stand in front of a piano, a surprise for Beth from Mr. Laurence. Marmee and Hannah help her downstairs and she tearfully hugs Mr. Laurence for his wonderful gift. She plays “Deck the Halls” and everyone joins in. Meg and Marmee put sugar atop a cake and discuss Meg’s proposal from Mr. Brooke. Jo is shocked. “Why can’t things stay as they are?” she cries.
But Jo’s distress is soon put aside as another surprise awaits the family-John has accompanied Mr. March home for Christmas. The family hugs happily, and the festivities continue as Meg and John romantically kiss against a backdrop of an open door with snow falling in the background.
I really must confess, I think the 1994 version may be my favorite. The film seems to capture the spirit of the novel and delves a little deeper into the story than the other versions. Amy grows from the precocious Kirsten Dunst into an elegant young lady portrayed by Samantha Mathis. Kirsten Dunst steals the show from veterans like Sarandon and Ryder. She is sprightly, cocky and assured as the youngest daughter Amy. Dunst made a splash earlier in the year with her outstanding performance in Interview With A Vampire, earning rave reviews for her first screen role.
Winona Ryder is one of today’s most talented stars. She made her impressive debut in Beetlejuice in 1988. She was cast as Mina in Bram Stoker’s Dracula and worked with Martin Scorsese in his impressive The Age of Innocence, a film that earned the young actress an Academy Award nomination. Ryder was not physically a match for Jo as Hepburn was, but Ryder brings a naturalness to the role that, in my opinion, makes her character the more believable Jo.
Claire Danes was fresh from her acclaimed teenage angst role in 1994’s television show, My So-Called Life. Beth was a dramatic turnabout for this talented actress. Danes managed the role with insight, never turning the performance into the sickly sweet parody it could easily have become.
Director Gillian Armstrong manages to bring the bond of love and squabbling between sisters to vivid life, while the cinematography is truly exquisite.
Little Women
Cast: Dorothy Bernard, Henry Hull, Conrad Nagel
Credits: Director: Harley Knoles; Producer: William A. Brady; Based on the novel by Louisa May Alcott; Silent, 1918
Little Women
Cast: Katharine Hepburn, Joan Bennett, Paul Lukas, Edna May Oliver, Jean Parker, Frances Dee
Credits: Producer: Kenneth MacGowan; Director: George Cukor; Writers: Sarah Y. Mason and Victor Heerman; Based on the Louisa May Alcott Novel; RKO; 1933
Little Women
Cast: June Allyson, Peter Lawford, Margaret O’Brien, Elizabeth Taylor, Janet Leigh, Mary Astor
Credits: Producer/Director: Mervyn LeRoy; MGM; Writers: Sarah Y. Mason, Victor Heerman, Andrew Solt; Based on the Louisa May Alcott Novel; 1949
Little Women
Cast: Meredith Baxter Birney, Susan Dey, Eve Plumb, Dorothy McGuire, Robert Young, William Shatner, Greer Garson
Credits: Producer: David Victor; Director: David Lowell Rich; Writer: Suzanne Clauser; Based on the Louisa May Alcott Novel; Universal; 1978
Little Women
Cast: Winona Ryder, Susan Sarandon, Samantha Mathis, Kirsten Dunst, Claire Danes, Mary Wickes
Credits: Producer: Denise DiNovi; Director: Gillian Armstrong; Writer: Robin Swicord; Based on the Louisa May Alcott Novel; Columbia; 1994
Look Who’s Talking Now
Cast: John Travolta, Kirstie Alley, David Gallagher, Danny DeVito, Diane Keaton
Credits: Producer: Jonathan D. Krane; Director: Tom Ropelewski; Writers: Tom Ropelewski and Leslie Dixon (from characters created by Amy Heckerling); TriStar; 1993
The third film in the Look Who’s Talking series is a charm as Travolta and Alley deal with her unemployment from cutbacks and his new job as a pilot for a sexy executive during the Christmas season. The chemistry between Alley and Travolta still works, now even more than ever, especially in a dream sequence where the couple have dreams of the other fooling around, Travolta with his new boss and Alley with her old lover from the first film, George Segal. The dreams merge and the couple do a “Fred and Ginger” dance routine.
In another funny sequence, Alley has taken a job as a Santa’s elf complete with dorky costume and pointy ears. She must deal with rather obnoxious children waiting in line. “Santa doesn’t want you to be a naughty girl,” Alley tells her. The little girl, hands on hips replies, “Who are you, his mother?” To which Alley replies, “No, I’m a Vulcan, how would you like a little death grip?” This, of course, is an inside joke since Alley portrayed Lt. Saavik in Star Trek II: The Wrath of Khan.
Another funny scene has Travolta, Alley and their daughter Julie (Tabitha Lupien) try to cheer up Mikey (David Gallagher) who has discovered the department store Santa isn’t real. They enter his bedroom pantomiming “The Chipmunk Song.”
The talking this time around is done by two dogs, voiced by Danny DeVito and Diane Keaton. The dogs are really secondary to the story; it could easily stand alone as a sweet Christmas film.
Travolta’s boss is trying to put the make on him and on Christmas Eve makes up a story about having to attend a business meeting in a cabin in upstate New York or 3,000 people will lose their jobs. Of course there is no meeting. Alley discovers this and packs the kids and dogs in the taxi (they still own) and heads off to spend Christmas with James. While yelling at the dogs, she narrowly avoids a tree blocking the road and the car zooms through the snow deeper into the woods. Rocks, the DeVito-voiced dog, saves her from a wolf and then he sends Daphne, the Keaton-voiced dog, for help while he goes to find Travolta. By now Travolta has finally figured out his boss’ motives and, hearing Rocks barking outside, leaves the cabin fired but much happier. The family is reunited at a park ranger’s cabin and spend Christmas Eve together. Kids will like the talking dogs, and adults will enjoy the antics of Alley and Travolta.
Love Finds Andy Hardy
Cast: Lewis Stone, Mickey Rooney, Judy Garland, Ann Rutherford, Lana Turner
Credits: Producer: Carey Wilson; Director: George B. Seitz; Writer: William Ludwig; MGM; 1938
Poor old Andy has a problem: two dates for the Christmas dance-Lana Turner and Ann Rutherford. Every boy should have such a problem. Typically enjoyable Andy Hardy film that marks Judy Garland’s first appearance as Betsy Booth.
Lucky Stiff
Cast: Donna Dixon, Joe Alaskey, Jeff Kober
Credits: Director: Anthony Perkins, Writer: Pat Profit; New Line; 1988
Poor old Ron is unlucky in love but meets a bombshell who invites him home for Christmas dinner. But he’s the main course!