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Jeremy Arnold - Turner Classic Movies: Christmas in the Movies: 30 Classics to Celebrate the Season

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Jeremy Arnold Turner Classic Movies: Christmas in the Movies: 30 Classics to Celebrate the Season
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Turner Classic Movies: Christmas in the Movies: 30 Classics to Celebrate the Season: summary, description and annotation

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Nothing brings the spirit of the season into our hearts quite like a great holiday movie. Christmas films come in many shapes and sizes and exist across nearly every genre. But all have one element in common: they use themes evoked by the holiday period -- be it goodwill, joy, family bonding and dysfunction, nostalgia, loneliness, commercialism, sentiment, or cynicism -- as a force in their storytelling.
Turner Classic Movies:Christmas in the Movies showcases the very best among this uniquely spirited strain of cinema. Some, like Its a Wonderful Life and A Christmas Story, are perennials, while others, such as Die Hard, have become Christmastime favorites only gradually over the years. Each film is profiled on what makes it a Christmas movie, along with behind-the-scenes stories of its production, reception, and legacy. Complemented by a trove of color and black-and-white photos, Turner Classic Movies:Christmas in the Movies is a glorious salute to a collection of the most treasured films of all time.
Among the 30 films included: Little Women, The Shop Around the Corner, Holiday Inn, Meet Me in St. Louis, Its a Wonderful Life, Miracle on 34th Street, White Christmas, A Christmas Story, National Lampoons Christmas Vacation, Home Alone, and The Nightmare Before Christmas.

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Copyright 2018 by Turner Classic Movies, Inc.

Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce the creative works that enrich our culture.

The scanning, uploading, and distribution of this book without permission is a theft of the authors intellectual property. If you would like permission to use material from the book (other than for review purposes), please contact permissions@hbgusa.com. Thank you for your support of the authors rights.

Running Press

Hachette Book Group

1290 Avenue of the Americas, New York, NY 10104

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First Edition: October 2018

Published by Running Press, an imprint of Perseus Books, LLC, a subsidiary of Hachette Book Group, Inc. The Running Press name and logo is a trademark of the Hachette Book Group.

The Hachette Speakers Bureau provides a wide range of authors for speaking events. To find out more, go to www.hachettespeakersbureau.com or call (866) 376-6591.

The publisher is not responsible for websites (or their content) that are not owned by the publisher.

Image credits: : Authors Collection; all other photography courtesy Turner Classic Movies, Inc.

Library of Congress Control Number: 2018942424

ISBNs: 978-0-7624-9248-0 (hardcover), 978-0-7624-9249-7 (ebook)

E3-20180719-JV-PC

Natalie Wood and Edmund Gwenn in Miracle on 34th Street 1947 James Stewart - photo 1

Natalie Wood and Edmund Gwenn in Miracle on 34th Street (1947)

James Stewart and Margaret Sullavan in The Shop Around the Corner 1940 - photo 2

James Stewart and Margaret Sullavan in The Shop Around the Corner (1940)

Publicity photo of Robert Mitchum and Janet Leigh promoting Holiday Affair - photo 3

Publicity photo of Robert Mitchum and Janet Leigh promoting Holiday Affair (1949)

W ould the holiday season feel complete without the sight of James Stewart - photo 4

W ould the holiday season feel complete without the sight of James Stewart running through the snow, shouting Merry Christmas to Bedford Falls? Without the longing on Peter Billingsleys face as he stares through a shop window at the air rifle of his dreams? Without Natalie Woods skeptical yank of Kris Kringles whiskers?

Each December, we look forward to the warm cheer that comes from reuniting with family and friends, sitting down to festive meals, exchanging presents, and revisiting our favorite holiday movies. They are as much a ritual of the season by now as candy canes and roast turkey. When we view them, we journey back to our childhoods, laugh at our quirks, and lose ourselves in tales of love and compassion. Theres nostalgia in many of these stories and even in the simple act of watching them: they stir our memories of having seen them in earlier times, with earlier loved ones.

We also adore them for their buoyant endings. Knowing they end happily is not a spoiler but part of the appeal. Its what we want and expect at Christmastimefor the spirit of the season to come through and win in the end, somehow, some way. In short, these films do what the season does: bring us back and lift us up.

Motion pictures with Christmas themes date practically to the dawn of cinema. The earliest surviving example, Santa Claus, runs all of seventy-six seconds and was made by British filmmaker George Albert Smith in 1898; three years later came the first known version of A Christmas Carol. The films have kept coming ever since, in all shapes and sizes, but the most powerful have one vital element in common: the Christmas season is not just a backdrop but plays a meaningful role in the storytelling.

The Christmas movie house of our memories from A Christmas Story 1983 The - photo 5

The Christmas movie house of our memories, from A Christmas Story (1983)

The season, of course, can mean different things to different people, from compassion, togetherness, and nostalgia to commercialism, cynicism, and loneliness. All have been themes for great holiday movies ranging from farce to tender drama. Genre doesnt matter: musicals, westerns, fantasies, action, and horror tales can all become Christmas films with the right approach.

This book presents thirty of the best and most intriguing English-language holiday moviesbeloved classics, under-the-radar gems, and a few familiar titles you may not have considered for their yuletide slants. Some were made and marketed with their holiday content in mind; many others were released with barely a mention of Christmas. A few take place entirely on the holiday; in others, its only a short part of the running time.

For all their differences, they share some interesting patterns and similarities. Nearly half these films, for instance, were released in the 1940s. Christmas no doubt resonated on the screen in those years because it was so often used to represent romance, nostalgia, and the idea of a complete family unitall while millions of moviegoers were separated from loved ones or rebuilding their own families.

Family, in fact, is at the center of the vast majority of films profiled in this book. In Christmas movies, families form, grow, divide, and especially reunite. They can be generally loving (A Christmas Story) or highly dysfunctional (The Lion in Winter). They can be part of an idealized past (Meet Me in St. Louis) or reflect a more complicated present (The Holly and the Ivy). They can be made up of coworkers (The Shop Around the Corner) or even random strangers (Love Actually). Closely tied to family is the notion of the home, and as a result, many Christmas films prominently incorporate houses, sometimes to the point of the houses becoming charactersas in Holiday Inn, Christmas in Connecticut, and Home Alone. Remember the Night uses two houses, one inviting and one cold and dark, to make a point about the value of family. Its a Wonderful Life does the same, although thanks to a fantasy sequence, its the same house in each case!

Part of the fun of these films is in seeing recognizable elements of the season arise in different ways: office holiday parties, family dinners, the exchanging of presents, and department store Santas all take on entertainingly different tones from film to film. Even the idea of the bad Santa appears at least as early as Miracle on 34th Street, in a bit part played by Percy Helton. Holiday movies are also ripe for fantasy devices, with ghosts, angels, disembodied voices, and supernatural creatures popping up in Beyond Tomorrow, The Bishops Wife, Gremlins, and others. (Squirrels, for some odd reason, are played for laughs in three pictures. Who knew?)

The lonelier, more cynical aspects of the season are covered as well, sometimes with biting honesty, as in The Apartmentone of four titles that contain attempted or contemplated suicides. Even after countless viewings, Its a Wonderful Life tends to shock us with the trauma it inflicts upon James Stewart and many other characters. Stewarts transformation is so powerful that the joy and uplift of the ending blot out thoughts of the films darker sectionswhich, of course, have helped to make the joy all the more stirring.

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