If there is one subject or theme that filmmakers repeatedly fumble, it is Christmas. For every good Christmas film there is a Bad Santa, Elf, or The Santa Clause. Yet, for a generation that prefers cynicism over sentimentality and values objects and people only for what they can contribute to pleasure, Christmas will always be misunderstood. The message of contemporary Christmas film, Love Actually, characterizes this predicament tellingly: ‘love actually is all around’, is its catchcry. Love, invisible and irresistible, can take any form. It is has no anchor, no zipcode in moral reality. But if love is everything, then it is nothing. When the objective realm has been supplanted by subjectivity, it is no wonder that moral principles evaporate and the heart of Christmas lost.
Joe Carter, over at First Things, gives a good argument for why Frank Capra’s It’s a Wonderful Life rightly upends the moral vision of our time and deserves its place as the best Christmas film. It’s a Wonderful Life is the translation of an older myth into a post-World War 2 world. That original story is Charles Dickens’ A Christmas Carol, the tale of a miser who is given a shot at redemption. It’s a Wonderful Life features not Scrooge but George Bailey, played by James Stewart, who is contemplating death after a financial crisis and the prospect of impending disgrace. It takes a vision of a world in which he was never born to make him realise that life is indeed worth living and rediscover the spirit of Christmas. Carter, in comparing the work of Frank Capra to Ayn Rand, says:
What makes George Bailey one of the most inspiring, emotionally complex characters in film is that he continually chooses the needs of his family and community over his own self-interested ambitions and desires—and suffers immensely for his efforts.
Although sentimental, Capra’s movie is not a simplistic morality play. In the end, George is saved from ruin but the rest of life remains essentially the same. By December 26 he’ll wake to find that he’s still a frustrated artist scraping out a meager living in a drafty old house in a one-stoplight town. In fact, all that he has gained is recognition of the value of faith, friends, and community and that this is worth more than anything else he might achieve. Capra’s underlying message is thus radically subversive: it is by serving our fellow man, even to the point of subordinating our dreams and ambitions, that we achieve both true greatness and lasting happiness.
This theme makes Wonderful Life one of the most counter-cultural films in the history of cinema. Almost every movie about the individual in society—from Easy Rider to Happy Feet—is based on the premise that self-actualization is the primary purpose of existence. To a society that accepts radical individualism as the norm, a film about the individual subordinating his desires for the good of others sounds anti-American, if not downright communistic. Surely, the only reason the film has become a Christmas classic is because so few people grasp this core message.
You can watch the whole movie online at Google Video.
(Cross-posted at TM)