You Won’t Believe How Robert Zemeckis’ ‘A Christmas Carol’ Almost Became a Masterpiece!

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#9 in my ranking of Robert Zemeckis’ films.

Amongst the three motion capture animated films Robert Zemeckis created in the 2000s, this one might stand out as the finest due to its slightly more cartoonish visual style that harmonizes well with the animation genre. The character designs are cleverly exaggerated, and performances, especially Jim Carrey’s, are commendable. However, it occasionally succumbs to the worst tendencies of these films by getting lost in spectacle at inopportune times. In essence, it’s a decent, heartfelt movie, an excellent adaptation of Charles Dickens’ novella, but with a little more restraint, it could have been exceptional.

One common interpretation of this text is: One of the most famous stories in English literature needs no summary of its plot, so instead, let’s discuss its advantages and disadvantages. Firstly, the visual design stands out. Director Zemeckis demonstrates his commitment to the original story from the start by displaying an etching reminiscent of 1840s work, even though it was not created then. This etching gradually transforms into the animated face of dead Marley with coins on his eyes. The caricatured Scrooge, with his elongated nose and chin, is instantly recognizable and could not have been achieved through makeup or prosthetics on Jim Carrey. The design also applies to other characters, such as the round-faced Bob Cratchit, the rotund Fezziwig, the decaying Jacob Marley, and the three Christmas spirits.

One noteworthy aspect of the film lies in its exceptional acting performances. During the more subdued scenes focusing on the characters, it manages to deliver an unexpected emotional impact. The most captivating part of the movie is the sequence with the Ghost of Christmas Past, as it delicately portrays the events that shaped Scrooge into the miser at the heart of the tale. The digital performances are understated, and the scenes set in Scrooge’s old schoolhouse are particularly well executed. The journey with the Ghost of Christmas Present is also impressive, creatively using visual effects to move Scrooge around London by transforming the room containing the Ghost into a transparent transportation device. Although I found Scrooge’s sudden change of heart towards Bob’s family, notably Tiny Tim, somewhat unexpected given his initial misanthropy, the transformation is handled convincingly mainly through the actors’ performances. It’s an interesting choice in a visual effects-heavy movie like this, but it seems that Zemeckis had a deeper understanding of the technology than many might assume.

Zemeckis occasionally lapses into excessive spectacle, yet he grasps that the essence of performance-driven animation lies within it. Capturing this essence was more challenging in The Polar Express due to its primitive technology, but the advanced tech employed here is truly exceptional. Despite Scrooge’s exaggerated features, he appears strikingly real. If this film had been less boisterous and grandiose, it could have been the finest adaptation of A Christmas Carol; however, it opts for extravagance in some over-the-top ways.

In my opinion, the scene featuring the Ghost of Christmas Past stands out as the strongest, but it concludes in an unusual manner. Frustrated by what he’s witnessed, Scrooge seizes the spirit’s extinguisher cap that it had been holding all along and squelches the spirit’s flame, exactly as depicted in both the original tale and illustration. Although things were wrapping up at this point, they take an unexpected turn, transforming the cap into a rocket and launching Scrooge across the rooftops of London and above the clouds to silhouette the moon. However, it goes too far. And this pattern persists, where a compelling visual concept is pushed beyond its limits, but the most absurd example of this excess is the Ghost of Christmas Yet to Come. The entire sequence is nonsensical, a chase after the spirit in a carriage that pursues Scrooge as he shrinks in size and ends up in pipes and bed curtain rings. It’s filled with strange ideas and spectacle for spectacle’s sake, probably intended to provide at least one extended scene for the 3D effects of the film’s initial release. However, it fails to contribute to the narrative and simply drags on. The Ghost of Christmas Yet to Come is most impactful when he’s somber and foreboding; turning him into a loud chase diminishes the purpose of his presence in the story.

Another clever decision by Zemeckis was casting Jim Carrey in multiple roles, notably the roles he assumed. Similar to Tom Hanks playing all adult male characters in The Polar Express, this choice by Zemeckis might imply a deeper meaning. It appears that the three ghosts are symbolically linked to Scrooge himself, as Carrey portrayed all three. While he is most famously recognized as the Ghost of Christmas Past (with an intriguing design element making his face appear solid amidst fluid surroundings like a flame, which accentuates his face more), he did perform motion capture for all three roles. This adds an engaging psychological dimension to the story that was previously absent, even though it isn’t heavily emphasized. It’s a subtle yet intriguing expansion of the narrative.

In a more relaxed and conversational tone:

“A Christmas Carol” cleverly employs a distinctive visual style that faced criticism from viewers. While it was never grounded in reality, it often felt like a cartoonish world rather than what the visuals suggested. This combination of material and visual approach seems to work best for this story, but it also gives director Robert Zemeckis an opportunity to explore some of his less desirable creative choices. By prioritizing visually striking moments over story development, the movie’s narrative often suffers. As Zemeckis himself admitted during script revisions for “Beowulf“, a minute of screen time in this style would always cost around a million dollars, which might explain why he felt free to make creative decisions both visually and narratively. This approach works well most of the time, but there are instances where it brings the film down, particularly towards the end. Despite some flaws, “A Christmas Carol” is a high-quality movie that, with just one strong rewrite, could have been truly exceptional. It boasts heartfelt moments, excellent performances, and an overall appealing visual aesthetic.

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2025-01-17 00:30