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THE CHRISTMAS COAL MINE MIRACLE (Dir: Jud Taylor, 1977).
THE CHRISTMAS COAL MINE MIRACLE (Dir: Jud Taylor, 1977).
A festive family drama made for US TV.
Set in the mining town of Caufield in 1951, The Christmas Coal Mine Miracle tells the story of coal miners trapped underground on Christmas Eve following an explosion. Centered largely around Matthew Sullivan (Mitchell Ryan), his wife Rachel (Barbara Babcock), their two daughters and prospective son-in-law Johnny (Kurt Russell).
Although claimed by some sources to be based upon a true story, the closing credits read: “The events depicted in this motion picture are fictitious although suggested by the history of mine disasters”. Which particular mine disasters are unclear. I think the movie would have more impact were it based on actual events. Instead what we have with The Christmas Coal Mine Miracle is an intriguing story, although not particularly dynamically told.
Surprisingly, considering it was made in the era when disaster movies were vogue, the focus of the film is not the explosion in the mine, but the relationships of those affected by it, particularly the women. As a result the movie suffers from being overly reliant on dialogue and a little short on action. Originally broadcast on the NBC network, it has the distinct feel of a Movie of the Week, albeit distinguished by a better than average cast. Top billing is afforded to Mitchell Ryan, but further down the cast are the more familiar names of Kurt Russell, John Carradine and Melissa Gilbert.
As earnest young man Johnny, Kurt Russell is, well, earnest. In fairness to Russell the role is not especially well fleshed out. Which is kind of an issue with every character; none are particularly well delineated and the audience never gets to know any of them well enough to be as affected by their plight as they should.
The Christmas Coal Mine Miracle is no Christmas classic. Were it a true story in the traditional sense, rather than vaguely inspired by historic mining accidents, I feel as if I would have warmed to the story a little more and have more investment in the characters. That said, if you stumble across this movie on daytime TV it is worth a look for the decent performances from its likeable cast.
Visit my blog JINGLE BONES MOVIE TIME to read a longer, more in-depth review of The Christmas Coal Mine Miracle! Link below.
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THE CHRISTMAS TREE (Dir: James Clark, 1966).
Cheap and cheerful Christmas movie from the Children’s Film Foundation.
Cocky kid Gary (William Burleigh) boasts to friends in a hospital ward that he can secure them a Christmas tree by 6PM on Christmas Eve. Determined to make good his claim, he and his younger siblings Jane (Kate Nicholls) and Sam (Anthony Honour) trek the 30 miles to London’s St Vincent hospital, stolen tree in tow, ill advisedly accepting lifts from strangers and finding themselves in evermore ridiculous situations as the movie progresses.
Like all CFF productions The Christmas Tree has a certain slapdash appeal. None of the cast seem particularly professional, with the exception of Brian Blessed, the Z Cars actor on familiar ground in a minor role as a police constable.
Its amateurish charm is actually probably the The Christmas Tree’s greatest asset. What submarines the film is its ludicrous plot involving cantankerous bus conductors, armed robbers and a circus troop. The three waifs, who must rank among the dopiest kids in history, somehow manage to evade parents, police and avoid being shot at by the army as they wander onto a military rifle range.
It is difficult to think of a movie with less of a grasp on reality. I am sure it entertained young audiences hyped up on sweets and sugary pop at the Saturday Morning Pictures in the 1960s, but viewed today it is quaint and corny and less than thrilling.
I can’t honestly say I would recommend The Christmas Tree to anyone other than those with an interest in British cinema. Clocking in at just over one hour, it is short enough to watch out of curiosity. It may hold nostalgia value for those who saw it as a child but I can’t see it appealing to kids raised on Star Wars and The Avengers.
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A FLINTSTONES CHRISTMAS CAROL (Dir: Joanna Romersa, 1994).
Geological puns abound, as Fred Flintstone stars as Ebonezer Scrooge against Barney Rubble’s Bob Cragic in this modern Stone Age retelling of Charles Dickens’ Christmas classic.
The Flintstones is, of course the enormously successful animated TV sitcom from Hanna-Barbera which aired for 6 seasons between 1960 and 1966. That this movie was made 30 years after the heyday of the show demonstrates the continued enduring popularity of the franchise.
Rather than a straight adaptation of Dickens’ familiar tale of festive redemption, A Flintstones Christmas Carol takes a tip from Mr Magoo’s Christmas Carol (Abe Leviton, 1962) and presents the story as a play within a story. So, running parallel to the events of the Bedrock Community Players performance of A Christmas Carol, we have the story of Fred, so engrossed in his role of Scrooge that he neglects his family duties until the lines between he and Ebonezer begin to blur.
Casting The Flintstones in the roles of Dickens’ characters is a nice idea. Not a particularly original idea, but I can see the appeal. The backstage story which runs alongside it is less engaging and the two strands work against each other to make for a somewhat choppy narrative. It isn’t a bad movie; made for US TV, the standard of animation is a shade better than normal Saturday morning fare and there is undeniable nostalgic value for those of a certain age.
Yet what is appealing in a 25 minute TV show is not quite as fun when stretched to nearly three times that length. While I enjoy The Flintstones on TV, I found A Flintstone Christmas Carol a little bit of a chore to watch come the halfway mark. Still, while it is a little disappointing in the story department, its colourful animation is above average and it does provides some mild chuckles. However, I think a straight version of the tale would have been better and can’t help but feel this somewhat of an opportunity missed. Longtime fans will probably get a kick out of the movie, but it’s not quite the ‘gay old time’ it might have been.
Visit my blog JINGLE BONES MOVIE TIME to read a longer, more in-depth review of A Flintstones Christmas Carol! Link below.
MIDWAY (Dir: Roland Emmerich, 2019).
The events of this true life WWII campaign were previously filmed as the similarly titled Midway aka Battle of Midway (Jack Smight, 1976). Not having seen the earlier account, I will not make comparisons between the two movies.
Midway begins with the events surrounding the attack on Pearl Harbor and chronicle the subsequent naval battle of the Pacific. Best known for directing big budget sci-fi blockbusters Stargate (1994) and Independence Day (1996), Roland Emmerich may seem an unlikely choice to helm a serious wartime drama. Midway, however, was pet project for Emmerich, one that he has fought to bring to the screen for many years.
Thankfully he tells the story straight. Certainly the special effects spectacle one expects from Emmerich is here to, as are the breathtaking action sequences. Yet these scenes are broken by the necessary detailing of the campaign. This pacing allows the action to breath and helps the movie be more than just an exercise in visual effects.
A fairly star-studded line-up was assembled for the movie, including Ed Skrein, Patrick Wilson, Luke Evans, Nick Jonas, Woody Harrelson, Dennis Quaid and Mandy Moore. As is often the case with these kind of movies, the actors are somewhat overshadowed by the spectacle. Although in fairness, the quality cast give solid performances throughout.
Midway is a decent movie, although one that, perhaps, brings nothing new to the war movie genre. A sense of the familiar is not necessarily a bad thing in a period movie but it’s underperformance at the box office suggests that old fashioned WWII features are a difficult sell to modern moviegoers, even with the presence of a Jonas Brother! That said, I did enjoy it. It is a worthy story, told in an impressively mounted and entertaining manner. If you want to watch it, it is worth catching it on the big screen where its spectacle can be fully appreciated.
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MURDER SHE SAID (Dir: George Pollock, 1961).
The first in a series of four MGM-British murder mysteries staring the incomparable Margaret Rutherford as Agatha Christie’s amateur sleuth Miss Marple.
Adapted from Christie's 1957 novel '4:50 from Paddington', Murder She Said sees Miss Marple witness a murder on a passing train. When the police won't listen to her, she takes matters into her own hands. Surmising that the body must have been deposited at the nearby Ackenthorpe Hall, she poses as a maid and finds employment at the stately home. Here she is perfectly placed to investigate the family and staff who would all appear to have motive for murder. Meanwhile the killer racks up a few more bodies.
This has to rank as among the most lighthearted Agatha Christie adaptations, taking a far more comedic approach than usual.
Christie was reportedly unhappy with the casting of Margaret Rutherford. In fairness her Miss Marple is nothing like the one in the novels, but she attacks the part with such gusto and good humour that it is hard not to love her in the role. An invention of the movie is Miss Marple’s loyal companion and romantic interest Mr Stringer, played by her real life husband Stringer Davis. This relationship is a nice addition to the story which also serves the practical purpose of allowing Miss Marple to convey some necessary exposition to the audience.
Excellent support is offered, especially from James Robertson Justice as the bedridden family patriarch and keep an eye out for future Miss Marple Joan Hickson further down the cast.
In its depiction of a quaintly dated post-War Britain, Murder She Said seems both of its time and oddly timeless. Christie purists may carp that too many liberties are taken with the original text and no one would suggest that this is a definitive telling. But to criticise it as such would be kind of missing the point. Murder She Said is enormously entertaining with superb performances from some British acting legends. It is all very silly, but also very funny and with some genuine moments of suspense. An excellent, infectious score by Ron Goodwin adds to the fun.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Murder She Said. Link below.
MURDER AT THE GALLOP (Dir: George Pollock, 1963).
Following the success of Murder She Said (George Pollock, 1961) aging amateur detective Miss Marple returns to investigate the death of the elderly Mr Enderby, supposedly frightened to death by a cat. Eavesdropping at the reading of Enderby's will, where his estate is divided between four family members, Miss Marple's suspicions are confirmed when the deceased's sister Cora suggests that the old man was murdered. When Miss Marple visits Cora to question her, she finds the sister too has been murdered. Deciding to investigate further, Miss Marple books herself a holiday at The Gallop Hotel and Riding School, an establishment run by Enderby's nephew Hector and the other surviving heirs.
The second of MGM’s Miss Marple movies was the first not to be based upon a Miss Marple novel. Rather, Murder at the Gallop is based upon Agatha Christie’s 1953 novel 'After the Funeral', which featured her other most famous creation, Belgian detective Hercule Poirot. Poirot is nowhere to be found in this adaptation in which he is supplanted by Margaret Rutherford’s bluffly brilliant interpretation of Miss Marple. Rutherford's real life husband Stringer Davis returns as loyal companion Mr Stringer, as does Charles Tingwell as the weary Inspector Craddock. Standout among the supporting cast is Robert Morley; his excellent comic turn as Hector Enderby threatens to steal the movie from Ms Rutherford. The quality cast also features neat performances from acting legends Flora Robson and Finlay Currie.
As with Murder She Said, the movie paints a picture of a quaint post-War Britain that never really existed and must have seemed archaic to audiences in the so-called 'swinging' sixties. But I feel this is kind of the point. The movie is very tongue-in-cheek and never takes itself too seriously; gently mocking genteel middle England, while at the same time romanticising it.
Again, this maybe not be an adaptation for Christie purists, but like the previous movie it is a lot of fun. There are some genuine moments of suspense amongst the jollity and Miss Marple even does the twist. What's not to love?
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