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#186 Favorite Film, 1970 Films, Albert Finney, Alec Guinness, Children, Christmas, David Collings, Edith Evans, Frances Cuka, Geoffrey Bayldon, Gordon Jackson, James Cossins, Kay Walsh, Kenneth More, Laurence Naismith, Michael Medwin, Musical, Ronald Neame, Roy Kinnear, Top 250 Films

Scrooge-1970

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Scrooge-1970

Director Ronald Neame

Starring Albert Finney, Alec Guinness

Top 250 Films #186

Scott’s Review #561

Reviewed December 25, 2016

Grade: A

A classic perfect for watching around the holidays, perhaps accompanied by a roaring fire and a bit of brandy, Scrooge (1970) is a magical, musical experience; the entire family should adore it.

The film is a retelling of Charles Dickens’ 1843 story, A Christmas Carol.

Set in London with spectacular London-style art direction, it is perfect in its depiction of life around the holidays in the historic city, circa the nineteenth century.

To be clear, this is the musical version of the popular tale, not to be confused with the 1935 or the 1951 versions of the story.

The film is not as dark or scary as those films are. Instead, the 1970 Scrooge would be a fantastic companion piece to the 1968 classic Oliver!, both based on Dickens stories and both mixing fantastic musical scores with dramatic elements.

Albert Finney takes center stage in flawless form as the old, cantankerous, miser Ebenezer Scrooge. He plays the character as both an older man and, through flashbacks, a young man (Finney was merely 34 years old at the time of filming).

Guinness, indeed a high-caliber actor, is effective as the ghost of Jacob Marley- Scrooge’s former business partner. Scrooge is a moneylender, mainly to the working class, and is unforgiving in his collection of debts.

Filled with hatred for all things good, especially the Christmas holiday, Scrooge refuses to attend a family Christmas dinner hosted by his nephew, Fred, or to give to any charities. He begrudgingly gives his minion and bookkeeper, Bob Cratchit, Christmas Day off.

Finally left alone on Christmas Eve night, Scrooge is visited by the spirit of Jacob Marley, who tells Scrooge that three ghosts will visit him during the night.

In a chilling scene, Marley takes Scrooge on a journey through the sky, where he is greeted by spirits doomed to traverse the Earth, as Jacob is, with shackles acquired from their life as living beings.

Since they are greedy and wicked, they are doomed in the afterlife, just as Scrooge will be if he does not change his ways.

In an excellent subplot, we get to know the Cratchits, led by their father, Bob, a poor but earnest man. The family has little, but makes the most of what they do have, and appreciates the glorious holiday. They prepare a meager Christmas bird and savor being together as a family.

Their youngest, Tiny Tim, is lame, and he lusts over a lavish train set in the local toy shop. Cratchit epitomizes goodness and richness of character, contrasting with Ebenezer Scrooge.

As Scrooge is visited by the ghosts of Christmas past, present, and Christmas yet to come, he slowly realizes he needs to change his ways before it is too late. The audience is treated to stories of Scrooge’s youth, as we understand what has made him the miserly older man that he is today.

The clear highlight of this film is its musical numbers that will leave even the most tone-deaf humming along in glee. Throughout each sequence, we are treated to various numbers.

My favorite is “Thank You Very Much”, as it first appears during the Ghost of Christmas Yet To Come sequence.

By this time, feeling more sympathetic and appreciative, Scrooge merrily dances and sings along with the townspeople, unaware of the fact that they are celebrating his death and are dancing on his coffin to celebrate the fact that their debts are now free and clear.

This catchy tune is a reprise at the end of the film.

Other cheery numbers are “Father Christmas” and “I Like Life”, which perfectly categorize the film as a merry, holiday one, despite its occasional dark tone. This is necessary to avoid making Scrooge too bleak.

I also adore the vivid set designs as the gorgeous city of London is perfectly recreated to show the festive Christmas holiday. The film is not high-budget, but it makes the most of it by using small yet lavish sets.

Scrooge is a perfect holiday film, with fantastic tunes and a meaningful story that comes across on screen as a celebration of life, never edging toward contrived or oversaturated.

A wonderful holiday feast.

Oscar Nominations: Best Original Song Score, Best Original Song for the Picture-“Thank You Very Much”, Best Costume Design, Best Art Direction

1973 Films, Arthur Lowe, Christine Noonan, Comedy, Dandy Nichols, Dark Comedy, Edward Judd, Helen Mirren, Lindsay Anderson, Malcolm McDowell, Margot Bennett, Michael Elphick, Michael Medwin, Mona Washbourne, Musical, Musical Comedy, Philip Stone, Rachel Roberts, Ralph Richardson, Vivian Pickles

O Lucky Man!-1973

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O Lucky Man! -1973

Director Lindsay Anderson

Starring Malcolm McDowell, Ralph Richardson, Helen Mirren

Scott’s Review #1,174

Reviewed September 1, 2021

Grade: A-

O Lucky Man! (1973) is a satirical black comedy that mixes musical numbers with a message about capitalism from the driven protagonist. Like a great fine wine, the film has aged well and is still relevant decades later.

The film is a slow build, but by the end of its nearly three-hour running time, I was enamored and hummed the title song repeatedly.

I’m still humming it as I write this review.

It is suggested that O Lucky Man! be watched in two or three segments for full appreciation. One sitting would be incredibly tough, since some of the events require reflection and thought.

An ambitious young British man, Mick Travis (Malcolm McDowell), is determined to be successful at all costs. Debuting as a coffee salesman, Mick is quickly promoted within his company. Events take a series of bizarre turns when a military agency abducts Mick.

Later, he becomes smitten with the gorgeous Patricia (Helen Mirren) and winds up working for her father, sinister executive Sir James Burgess (Ralph Richardson). As Mick’s tale continues, his experiences get progressively stranger.

The clever aspect is that just when you think Mick’s life is dour and drab, he rebounds more successful than ever. Hence the title of the film. So, there is an element of adventure and romance amid the capitalist plot.

Lindsay Anderson, who directed O Lucky Man!, re-casts McDowell again in the same role he first played as a disaffected public schoolboy in his first film performance in If… (1968).

I did not realize this when I watched O Lucky Man!, and I think this knowledge would have made me catch on to the events and subtext even more.

Now, I need to rewatch If…

I did, however, ruminate constantly on McDowell’s other iconic role in A Clockwork Orange (1971) as Alex. The characters are quite similar, save that Alex is a juvenile delinquent rather than a rising corporate guy like Mick.

This is in large part due to McDowell’s looks and acting style. His trademark sneer and bright blue eyes make him mesmerizing in both roles.

I even spotted an actor who played one of the infamous droogs!

A plus for the film is that several actors appear in multiple roles, some of whom are difficult to distinguish. Part of the fun is trying to figure out who’s who.

There isn’t a whole lot of chemistry between McDowell and Mirren, but it’s interesting to see the shifting characteristics of the characters.

And Patricia is fascinating. When she asks why people work so hard for things instead of just taking them, we realize she places no value on things because she’s never had to work for them. She’s a rich daddy’s girl.

There are reasons not to like her, but I still did. When she winds up in a homeless lot, it’s shocking. And I also loved the character of Mick and his epic journey. He is imprisoned and then reformed in a humanistic way, just like Alex was in A Clockwork Orange.

But the best part of O Lucky Man! is the music. Anderson takes periodic breaks from the drama to treat his audience to a musical number, performed by Alan Price.

It’s comforting to sit back and enjoy the unforgettable tunes that pepper the film. One could argue that the songs almost usurp the main action, but I found them to be great companions to the other.

As if there was any doubt, the soundtrack was widely lauded and was a huge financial success.

A surreal effort, sometimes happy or tragic but always insightful and oftentimes delightful, McDowell, Price, and Anderson are at the top of their respective games.

O Lucky Man! (1973) is a terrific watch, brimming with good juices if one has the patience to let events marinate.