Welcome to the next evolution in repurposing old articles: revisiting posts about revisiting movies. I do appreciate a good meta concept. And also this one.
Any collection of highlights from the Movies of My Yesterdays series has to include the very first edition: Lady and the Tramp.
I’m not sure, but I think The Seven Percent Solution might be the longest post I’ve written on this blog, and it looks like I put a lot into crafting it as the final Sherlock Holmes movie review. I hope it doesn’t seem overdone, but I mostly feel good about it still.
Almost as much surplus of retrospective is found with Galaxy Quest. Also almost as much writing quality. I enjoy very much when I can find a topic to Say Something About in relation to a movie, and in this case, I was recognizing the 50th anniversary of Star Trek.
Finally, I can’t necessarily speak to the writing quality of the reviews, but I hope I got across how much I love The Iron Giant and Meet The Robinsons and possibly only love them more with each rewatch.
I recall this movie coming into the house through a joint garage sale with my aunt’s family. Or rather, I remember seeing the tape at one of the garage sales, and then I remember finding it in our collection months or years later. I don’t know why it didn’t interest me for a long time, but I think I didn’t get to it until I was in my 20s or late teens. I can’t recall now if the portion I saw on TV (I mainly remember hearing “Mele Kalikimaka” for the first time) got me interested, or if I was just going through the video collection and connected it with the Christmas movie everybody liked and decided to watch it for that reason. I’m a little surprised I didn’t seek it out when I was in my significant “all the traditions” phase, but I think I would’ve been scandalized at the time if I had.
Clark Griswold and his family is hosting Christmas for the extended family for the first time, and Clark is determined to make it perfect. He marches his wife Ellen and their children deep into the forest to find The Perfect Tree, he blankets the house in 25,000 lights that he can’t get working, and packs every room with family members, including the son and daughter of his wife’s uninvited cousin Eddie, who drove the rusty trailer they live in to join the family. Clark is also starting to wonder where his Christmas bonus check is, which he badly needs to cover the deposit he already laid out to install a swimming pool.
I seem to recall that before I first saw the movie,I didn’t think the poster was very much help in understanding what it’s about, but the problem is that it’s an extremely episodic movie that doesn’t have a more significant overarching plot than “Clark tries to make a perfect Christmas for his extended family”, which is hard to convey on a poster. Just about every scene is a vignette of a crazy family Christmas, but the lights and the bonus check are the most consistent throughlines. So a lighting accident it is.
While it’s a Chevy Chase vehicle with many scenes stolen by Randy Quaid, this is the first time I noticed that Clark’s son Rusty is played by a young Johnny Galecki, best known for The Big Bang Theory. Even at the young age, there were moments where I recognized his acting style. My wife also pointed out that Beverly D’Angelo has a strong resemblance to Amy Pohler. I don’t know if any of the elderly uncles and grandparents are notable actors, but many of them are also doing very memorable character work.
This movie is somehow pitched to the point of absurdity yet relatable to the point it at times feels almost like a set of generic scenes of the Christmas experience. John Hughes may have hit a bigger classic with Home Alone, but I think this is better at creating the adult experience of Christmas. I suspect that there are people for whom it’s so relatable, it’s too stressful, like my experience watching The Long, Long Trailer so soon after driving a trailer across the country. It may not be a Christmas staple to me, but it’s always welcome. Because while we have plenty of opportunities to remember warmth and generosity at Christmas, it’s also just a real catharsis to have a laugh at the hassle we impose on ourselves too.
Movies of my Yesterdays is an irregular series where instead of writing about a movie I’ve never seen, I choose a movie important to my past and discuss why that is.
I clearly remember that the first time I saw this movie, it was on a New Year’s Eve at home. It was one of the rare movies we had on hand that wasn’t made for children, didn’t even look like it was for kids, and wasn’t Star Trek (The only other one that comes to mind is Trading Places, which is very not for kids.) I don’t remember how old I was at the time, but I must have been in middle school or close to it, because I was staying up for midnight and my parents put this on for us. It must have been on the basis of how much I enjoyed the movie that first time, because I remember nothing else about that particular New Year’s, but watching the movie was so formative for me that I recall it every New Year’s Eve, and I’m always pleased when I have a chance to include the movie or the game in a New Year’s now.
A few months or years later I developed an obsession with Back to the Future, and the fact that Christopher Lloyd has a prominent role here deepened my appreciation of this movie. I also think this is most of the reason Martin Mull makes me happy whenever I see him pop up in something. Tim Curry is of course, simply a legend. I can probably make a list of all the movies he makes better, but that would be a needless digression (and it’s probably “everything he’s been in except Rocky Horror” anyway).
As anyone who’s seen the movie probably knows, what makes Clue particularly unique is the multiple-choice ending. I never got to experience the buzz when it was released, where different theaters got different endings and I don’t think it was announced there would be differences, but home releases on tape include all three endings and releases on disc have the option to play one at random. I do have a favorite, but I find it interesting that the linear version declares only one of them to be “the real one”. I think I’ve heard that it’s the only one that actually lines up with all the details, but I’m not sure if that’s true. There are too many subtle moments to keep track of. Regardless, it’s a fascinatingly unorthodox approach to storytelling.
I’m not sure if I’ve played this movie since college, but it’s never been one I got tired of. By now I can recognize that, in concert with the amazing wit in the dialogue, one of the biggest strengths on display is that the script supports a large ensemble with fantastic characterization for everyone involved without giving too much focus to any one of them. It’s like an English high society detective novel without the high society or the detective, just a bunch of people being nasty to each other while trying to solve a puzzle. Lovely mansion though.
Over thirty years later, this continues to be the paragon of game to film adaptations. Clue is a fairly simple game but with a lot of data points, and while every single one of them are included here, none of them feel forced. There are even half a dozen extra characters added (mostly as cannon fodder) and it still somehow doesn’t feel unwieldy. I don’t think this movie will ever get old.