A Christmas Carol

Novella, 1843
Scrooge (1935)

Director Henry Edwards; writer H. Fowler Mear; featuring Seymour Hicks, Donald Calthrop, Oscar Asche

A Christmas Carol (1938)

Director Edwin L. Marin; writ. Hugo Butler; featuring Reginald Owen, Gene Lockhart, Kathleen Lockhart, Ann Rutherford, Leo G. Carroll

Scrooge (1951)

Also called A Christmas Carol
Director Brian Desmond Hurst; writ. Noel Langley; featuring Alastair Sim, Mervyn Johns, Michael Hordern

Scrooge (1970)

Director Ronald Neame Hurst; writ Leslie Bricusse; featuring Albert Finney, Edith Adams, Kenneth Moore, David Collings, Alec Guinness

The Stingiest Man in Town (1978)

Animated film: director Jules Bass, Arthur Rankin Jr.; writ. Romeo Muller; voices Walter Matthau, Tom Bosley, Theodore Bikel, Dennis Day

A Christmas Carol (1984)

Director Clive Donner; writer Roger O. Hirson; featuring George C. Scott, David Warner, Roger Rees, Edward Woodward

Scrooged (1988)

Director Richard Donner; writ. Mitch Glazer, Michael O'Donoghue; featuring Bill Murray, Karen Allen, Robert Mitchum

Blackadder's Christmas Carol (1988)

Director Richard Boden; writer Richard Curtis, Ben Elton; featuring Rowan Atkinson, Tony Robinson, Hugh Laurie, Miranda Richardson, Stephen Fry, Robbie Coltrane

A Chistmas Carol (1997)

Animated film: director San Phillips; writer Jymn Magon; voices Tim Curry, Whoopie Goldberg, Michael York, Ed Asner

Alistair Sim in Scrooge scene

Alistair Sim in the 1951 film before the transformation of Scrooge that has delighted generations.

A Chistmas Carol


Beloved black-and-white Scrooge

It took the Brits to really get it right. The 1951 adaptation, Scrooge (called A Christmas Carol in the United States) is the beloved version we've all seen countless times.

It also made former academic Alastair Sim into a beloved figure for his wonderfully lively, moving and hilarious performance.

It is hard to describe the depth of his performance that allows us to accept without question the transitions from cruelty to fear to recalcitrance to repentance to joyful silliness. Few could watch the last few minutes of Scrooge without tearing up and giggling at the same time.

The film gives him and the other actors time (about an hour and a half) to develop their characters more than earlier adaptations had. We see Scrooge grow into the monster he becomes in business alongside Marley (the also-great Michael Hordern in a beefed-up role). We also follow his relationship with his long-suffering fiancée in private life.

The Cratchits are still sentimentally portrayed but not cloyingly so—led by character actor Mervyn Johns as a sincere, but deeply feeling, Bob Cratchit.

The cinematography is brilliant. Black and white has seldom been used so effectively in filmmaking outside the American film-noir crime classics. London is dark and cramped and Scrooge's home is dingy and full of shadows. Camera angles accentuate the feeling of doom in the early and middle going and then open up for the joyous finale.

Beware the colourized version of this film. Why oh why would they ruin such a masterpiece in this way? Presumably to curry favour with youngsters who won't watch anything so old that it's black and white. But the pastel backgrounds, the colourful clothes, the overall bright lighting of the coloured film—they just wash the drama from this classic.

In black and white, this is the Christmas Carol—and especially the Scrooge—that all since have measured themselves against.

— Eric



Charles Dickens

A Christmas Carol

See also:

Oliver Twist

David Copperfield

Great Expectations

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A Christmas Carol

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