SCROOGE (1951)

Film of the Day #230 - 25 Days of Christmas Movies #9

Dec 09, 2023

SCROOGE
1951 • Brian Desmond Hurst
Cast: Alastair Sim, Mervyn Johns, Michael Hodern, George Cole, Francis de Wolff, Brian Worth, Hermione Baddeley, Jack Warner, Kathleen Harrison, Glyn Dearman, Peter Bull
Screenplay: Noel Langley; Based on A Christmas Carol 1843 novella by Charles Dickens
Cinematography: C. M. Pennington-Richards
Music: Richard Addinsell
Producer: Brian Desmond Hurst, Stanley Haynes

Renown Pictures

Before I draw nearer to that stone, tell me! Are these the shadows of things that must be, or are they the shadows of things that MIGHT be?

This is not my favorite adaptation of A Christmas Carol, that comes later this month. However, Scrooge (released as A Christmas Carol in the United States) is perhaps the most faithful retelling, with an incredible performance by Alistair Sim. That says a lot, considering the story has been adapted over 60 times (at least, I stopped counting after a while) on film and in television since 1901. Instead of rehashing the plot, which we all know, this article will delve into what makes this specific version exceptional.

Alistair Sim's performance is widely regarded as one of the most iconic portrayals of Ebenezer Scrooge ever. He may be the best Scrooge ever filmed, which is big accomplishment as the list of Ebeneezer Scrooges includes a diverse roster of actors ranging anywhere from Albert Finney to Patrick Stewart to George C. Scott to Jim Carey. He excels at being both cruel and menacing as well as childishly hilarious. Sim masterfully captures the multifaceted nature of the character, skillfully navigating the nuances of cruelty, menace, humor, and ultimately redemption. In the early scenes of the film, Sim brings a chilling and malevolent presence to Scrooge. His portrayal of the miserly old man is marked by a cold and callous demeanor, reflecting the character's disdain for Christmas and his indifference to the suffering of others. Sim's ability to convey cruelty is truly exceptional, making Scrooge a formidable and unrelenting figure.

What sets Sim apart is his seamless transition from cruelty to redemption. As the Ghosts of Christmas Past, Present, and Yet to Come guide Scrooge through his journey, Sim's performance becomes more layered. He can be quite funny. There arebz childishly hilarious moments are imbued with a sense of vulnerability, offering a glimpse into the wounded soul beneath Scrooge's hardened exterior. Sim's subtlety in the pre-redemption scenes stands in contrast to other portrayals, such as Reginald Owen's in the 1938 film. While Owen's performance is notable, he’s a little more exaggerated as the stingy Scrooge. Sim's approach is more complex. Sim conveys Scrooge's internal struggle and inner turmoil with a nuanced touch, allowing the audience to witness the gradual unraveling of the character's defenses. During the Christmas Past sequences, he displays great sadness.

After Scrooge's redemption, Sim's performance takes a delightful turn. His bombastic and exuberant portrayal of the reformed Scrooge is infectious and heartwarming. Sim effectively conveys the joy and enthusiasm that accompany Scrooge's newfound appreciation for life and humanity. His transformation feels genuine and earned, as Sim successfully communicates the sincerity of Scrooge's change of heart. Sim's performance is not merely about Scrooge being terrified into redemption; instead, Sim portrays a genuine and profound transformation. We witness Scrooge evolving from a miserly curmudgeon to a benevolent and joyous soul, and Sim ensures that every step of this journey is both believable and emotionally resonant.

Brian Desmond Hurst takes a meticulous approach to Charles Dickens' classic tale, leaving no stone unturned in their exploration of Ebenezer Scrooge's past, present, and future. In contrast to some adaptations that may gloss over the details of Scrooge's past, the 1951 film ensures that every facet of his history is explored and examined. Particularly notable is the "Past" segment, where the film delves into Scrooge's history with a level of detail that surpasses many other adaptations. The film's commitment to providing a comprehensive backstory for Scrooge sets it apart from other renditions of A Christmas Carol. In the "Past" segment is the character development portion of any adaptation, and it is absolutely crucial to develop any sort of empathy for Scrooge. This film, above all others, spends the most time in Scrooge’s past. Viewers are not merely offered a glimpse into Scrooge's earlier years; instead, Hurst takes the time to unravel the layers of his character.

For instance, the film delves into Scrooge's strained relationship with his father more than other adaptations. It takes time to portray the deep love he has for his sister and how her death hardens his heart, especially when it comes to his nephew, Fred. Fan dies during childbirth, and Scrooge hates him for it. This additional context adds depth to Scrooge. Alistair Sim's performance, coupled with the screenplay's attention to detail, allows the audience to empathize with Scrooge on a more profound level.

Moreover, the film provides insight into Scrooge's early career, exploring his partnership with Jacob Marley and the choices that ultimately led them down a dark path. It introduces a new character, Mr. Jorkin, who takes over Fezziwig’s company, and ultimately corrupts Scrooge, exposing him to unethical business practices. When Jorkin is caught embezzling company funds, Scrooge and Marley manipulate the situation to their advantage, the final straw of Scrooge’s moral downfall. By expanding on these elements of Scrooge's past, we witness the gradual erosion of Scrooge's youthful optimism, making his eventual redemption all the more poignant.

There are two other adaptations left to cover this month, with their own unique merits. However, as stated earlier, this is the most faithful adaptation. A word of caution: there is a colorized version of this film available. Please do not watch it. This is a dark story, filmed specifically in black and white, and artificially coloring it does nothing but hurt the film. Bah humbug.