It’s the hap-happiest season of all. We bring nature inside as we adorn our living spaces with seasonally appropriate trees, and we light up the longer nights with bright and colourful lights. Music from generations long since passed is re-played and re-contextualised, and centuries old iconography is re-evaluated and repurposed.

There’ll be parties for hosting, marshmallows for toasting, and carolling out in the snow. If we’ve been good, we’ll receive gifts (thanks Santa!), and if we’re lucky we’ll eat so much food we can barely move. Almost certainly, we’ll watch a movie. From the Netflix Originals of the current era to the silver screen classics of wartime Hollywood, Christmastime movie watching doesn’t discriminate based on picture quality, colour or the lack thereof, acting powerhouses or barely trained actors – if it works, it works. And if it’s good, we’ll hold onto it forever.

In this Movie List from The Film Magazine, we’ve scoured the annals of Christmas movie history to bring you the very best of the best to watch this holiday season. These films are Christmas classics and beloved cult hits, some culturally significant and others often overlooked. These films are seasonal treats; two advent calendars worth of movie magic from the big-wigs in Hollywood and beyond.

Short films (those with a runtime of under one hour) will not be included here, nor will films that cross multiple seasons but feel like Christmas movies – sorry You’ve Got Mail and Bridget Jones’s Diary. Debatable Christmas movies like Gremlins have also been omitted because of their inclusion in our alternative list “10 Excellent Non-Christmas Films Set at Christmas“. Seasonal classic The Apartment has also been disqualified on the grounds that it covers Christmas and beyond, and is arguably more of a new year’s movie.

These are 50 Unmissable Christmas Movies as chosen by The Film Magazine team members. Entries by Mark Carnochan, Kieran Judge, Martha Lane, Sam Sewell-Peterson and Joseph Wade.

Follow @thefilmagazine on X (Twitter).

1. Remember the Night (1940)

Golden Era stars Barbara Stanwyck and Fred MacMurray (who would go on to star in The Apartment) spark an unlikely romance when Stanwyck’s Lee Leander steals a bracelet from a jewellery store and MacMurray’s John “Jack” Sargent is assigned to prosecute her over the Christmas holidays.

One of the era’s many beloved studio romantic comedies, Remember the Night features all the elements that would come to define the genre while encompassing some screwball comedy and classic transatlantic accents. The tagline read “When good boy meets bad girl they remember the night”, and it’s likely you’ll remember this seasonal treat too. JW

2. The Shop Around the Corner (1940)

Few things signal classic Hollywood Christmases like Jimmy Stewart, and 6 years before arguably his most memorable performance in the iconic Frank Capra Christmas movie It’s a Wonderful Life, he starred in a seasonal favourite that was just as beloved by critics, The Shop Around the Corner.

This holiday romance from Ernst Lubitsch (who also directed Heaven Can Wait) sees Stewart’s Alfred fall in love with his pen pal who, unbeknownst to him, is the colleague he most despises at his gift store job – You’ve Got Mail has got nothing on this. With some hearty moments and all of the circumstantial comedy of the best movies of the era, The Shop Around the Corner will make you laugh and fill your heart in that special way that only the best Christmas movies can. JW

3. Holiday Inn (1942)

Early sound pictures were revolutionised by famed tap dancer Fred Astaire, and by 1942 he was a certified movie musical megastar. In Mark Sandrich’s seasonal musical Holiday Inn, he teams with would-be Christmas icon and man with a voice as sooth as silk, Bing Crosby. The result is one of the most iconic and influential Christmas movies ever made.

The film’s outdated attitude towards race are cringe-inducing and inexcusable in a 21st century context (there’s a whole sequence featuring blackface), but its other dated sensibilities shine bright amongst more modern and commercial Christmas films; its wholesome aura, classic dance scenes, and era-defining songs making for an unmissable experience. To top it all, Bing Crosby sings “White Christmas” for the first time in this film, cementing it in history as a seasonal classic. JW

4. Meet Me in St. Louis (1944)

Widely acknowledged as one of the holiday season’s best-ever films, Vincente Minnelli (An American in Paris) illuminates his would-be wife Judy Garland in arguably her most established performance, bringing Christmas cheer to all without sacrificing any of the harsh realities facing the American people in the first half of the 20th century.

Featuring the original (and arguably the best) rendition of Christmas classic “Have Yourself a Merry Little Christmas”, and being anchored by some heartbreaking story elements, Meet Me In St. Louis maintains its power and relevance 80 years on. It offers a Christmas movie that will forever mark the height of its sub-genre, as well as the two filmmaking careers (of Minnelli and Garland) that helped to define the era. JW

Recommended for you: There’s No Place Like St. Louis at Christmas

5. Christmas in Connecticut (1945)

Remember the Night star Barbara Stanwyck is once again front and centre for a Golden Era Hollywood Christmas movie, this time playing a city magazine editor whose lies about being a perfect housewife are put to the test when her boss and a returning war hero invite themselves to her house.

This is screwball comedy with all the spirit of the festive season is as romantic as it is funny, and prominently features the shadows of World War II to gift the film a unique emotionality that has ensured it is rewatched year on year. JW

It’s a Wonderful Life (1946)
Director: Frank Capra
Screenwriters: Frances Goodrich, Albert Hackett, Frank Capra
Starring: James Stewart, Donna Reed, Lionel Barrymore, Thomas Mitchell, Henry Travers

Despite it bombing and falling short of its budget in its initial box office run in 1946, It’s a Wonderful Life has slowly and surely grown in popularity over the years. Mostly thanks to television syndication (through which it was annually broadcast at every yuletide), Frank Capra’s financial disaster has morphed into sell-out re-releases in cinemas across the globe. On this, its 75th birthday, It’s a Wonderful Life can enjoy its status as the favourite Christmas film of many a generation.

As the first production of the short-lived Liberty Films, a company formed by director Frank Capra, William Wyler and George Stevens, It’s a Wonderful Life was intended to be a film of conscience to soothe the traumatised masses in the immediate aftermath of the Second World War. Yet strangely its relevance hasn’t waned. In fact, adoration for this film is probably at an all time high…

For its youngest audiences, the portrayed lives of George Bailey (James Stewart) and Mary Hatch (Donna Reed) are parallel to those of their Great Grandparents (or even Great Great Grandparents), but surprisingly no element of relatability has been lost. Film is an art form, and like all great works of art, it should be an effective snapshot of the time it was created in. It’s a Wonderful Life provides an insight into the lives of these very relatives, giving a deeper understanding and appreciation of these people we may have never met but to whom we owe our very existences. The film’s continuing and growing popularity can also be attributed to its sincerity and earnestness: this isn’t only a story true to the spirit of Christmas but a film with a philosophy and message that has managed to resonate throughout the decades.

The urban myth surrounding the origins of It’s a Wonderful Life is that inspiration for the story came from a greetings card. In reality, Philip Van Doren Stern failed to get a publisher for his short story “The Greatest Gift”, so instead printed it onto Christmas cards to give to friends and family. This method of distribution eventually turned the relevant heads in Hollywood and the rights were bought by RKO. It passed through several hands and endured several rewrites resulting in a very different story to what was eventually produced, such as the starring role almost going to Cary Grant. It eventually landed in the lap of Frank Capra to become the auspicious return to Hollywood for both Capra and the film’s star, James Stewart, both of whom had dedicated themselves to the war effort, directing documentaries and training videos and serving in the US Army respectively.

It’s a Wonderful Life has become such a famous part of Hollywood’s Golden Era, its plot is familiar even to those who have never seen it. The story revolves around the character George Bailey (James Stewart) who lives in the fictional town of Bedford Falls in Upstate New York. Like millions of others, George is a typical member of the middle classes of the early 20th century in small-town America, but through the revelation of his life-story it is shown that George Bailey is anything but typical. George grew up with fierce and grand ambitions but instead of exploring the world as he had always dreamed of, he unwittingly found himself chained to a desk at a penny-counting job he hates at his late father’s Bailey Bros. Building and Loan company. This turn of events cannot be fully attributed to random unforeseen circumstances such as his father’s sudden death or falling in love with his childhood sweetheart, but instead through selflessness and moments of moral courage taken by George himself. The Bailey Building and Loan is not just a small time building society: it is the single institute that stands between Bedford Falls and the inexhaustible greedy machinations of local Millionaire, Henry F. Potter (Lionel Barrymore), and George knows this. The building society created by his father and uncle has allowed for the working class of Bedford Falls to be able to buy their own homes and escape the extortionate privately rented slums owned by Potter. And, with no one else competent enough to keep the family business going, George knows his abandonment of the company would effectively be throwing these same working masses to the wolves. He knows that Potter wouldn’t mind seeing these same people starve on the streets.

Despite having to extinguish the burning desire to stretch his wings and fly, life still isn’t too horrid for George as he lives within the warm arms of a caring community and loving family, with his wife Mary at the heart of it. This simple life marked by George’s altruism eventually takes its toll. On the fateful Christmas Eve at the epicentre of the film’s plot, $8000 dollars from the Building and Loan’s funds is misplaced, and as the bank examiner is in town, this big hole in the books will not go amiss. As George and Uncle Billy struggle to recover the missing thousands, the consequences of this accident begin to dawn on George: bankruptcy, scandal and prison. When considering his young family, this burden becomes insurmountable, leading George to contemplate ending his own life. It is at this moment in which the answer to the town’s prayers arrives in the form of the Clarence Oddbody, bringing with him the most unforgettable moments in cinema when granting George’s wish of never being born.

Underneath its Christmassy exterior, It’s a Wonderful Life is a delightfully deceptive movie filled with illusions. Although it screams originality, the story is essentially an updated version of Charles Dickens’ “A Christmas Carol” with ghostly apparitions and alternate realities to boot. It delves into dark themes such as poverty, death and suicide, yet it is considered family viewing and is famous for its many lighter moments.

In dissecting It’s a Wonderful Life to try to understand its outstanding popularity, one has to consider the writing and the philosophy that shines out from the film. It doesn’t take much research to find out that the writing process was chaotic. The story had passed through several hands by the time it reached Capra’s team, and apparently the husband and wife writing duo of Goodrich and Hackett did not get along well with Capra who secretly rewrote much of their script, much to their anger. Despite this deception, and the fact that this was the first and only time Capra had contributed to a script, the end result remains impressive, especially as it conveys a consistent philosophy throughout: celebrating the magnificence of ordinary life.

Before the war, Frank Capra’s most famous works were screwball comedies such as It Happened One Night (1934) and comedy-dramas including Mr. Deeds Goes to Town (1936) and Mr. Smith Goes to Washington (1939), each of which tend to share similar themes and characteristics to It’s a Wonderful Life: the mixing of whimsy with moments of sobriety, and of course the victory of the underdog over the big bad (which is usually a manifestation of the rich and powerful). Simple moments from life are taken and illuminated to reveal the little joys that can be found within our own lives. One such a moment comes in witnessing a soaked George and Mary walking home from George’s younger brother Harry’s high school graduation party where they accidentally fell into the swimming pool whilst dancing. Singing off-key in the streets, wearing nothing but stolen oversized clothed from lost and found, throwing rocks at an abandoned house, this is where George and Mary’s love begins to flower, as it has in similar moments for normal people throughout history.

What differs It’s a Wonderful Life to its pre-war counterparts is: despite its reputation as an uplifting and inspiring film, a very dark tone bleeds throughout. Even in comparison to Mr. Smith Goes to Washington in which the titular Smith is pitted against the corrupt system of the American political machine, George Bailey’s struggles against Mr Potter and indeed the evils of ordinary life feels so much more harrowing. No longer do the stakes within Capra’s movies feel as if they are there for spectacle, they instead appear to be a reflection of the horror and tragedy of reality. Capra even uses comedy to consolidate George’s pathetic circumstances, such as in the moment George realises Clarence, his supposed guardian angel, is only a second-class one.

“Well, you look about the kind of angel I’d get.”

Additionally, his expert timing is used to induce painful whiplash. George and Mary’s aforementioned wicked fun on the streets of Bedford Falls is cut drastically short as George’s family calls him home as his Father had just suffered a stroke. How true to the diametric highs and lows of real life.

Considering the time in which the film was made, it is not surprising that Capra’s work experienced such a tonal shift: Capra, alongside everyone else in the world, would have been shocked and appalled beyond belief by the atrocities that were unearthed during the war. The depiction of such exquisite despair turning into hope and joy required expertise beyond just writing – Capra’s direction drew upon all elements of production to create this masterpiece. Standing as a very expensive independent movie (notably, the set for Bedford Falls is still one of the largest film sets ever assembled with the main street being 300 yards long), it was in no small part Capra’s creativity that assembled a film that feels oddly modern.

Now a popular trope of contemporary cinema, over half of It’s a Wonderful Life is told in flashback, a fairly uncommon tactic only used by the boldest of directors of the time. Its use here gives us an all-encompassing bird’s eye (or heaven’s) view of George’s life, creating an act of deception in which a 2 hour run-time feels like a man’s entire life story. This narrative structure also ensures that we can’t help but to fall in love with George as we witness his private moments of frustration and anger, each highlighting the cost of every one of his sacrifices. Capra also indulged in the use of freeze frames before they were popularised – in that era of filmmaking, freeze-frames were used as part of a fantasy sequence, such as when time is frozen in A Matter of Life and Death (1946) as opposed to an editing technique. Capra used it as an opportunity to emphasise important details within the story, specifically through the medium of the unseen Joseph narrating George’s life to Clarence. There hasn’t been a film with narration released in the three quarters of a century since that doesn’t use the same technique.

Another first-time innovation worthy of note, especially because of its unexpected visceral power, is the snow. It’s a Wonderful Life was filmed in the summer on a sound stage, so of course the snow isn’t real.  Before 1946, falling snow seen on film was cornflakes painted white, and as one would expect the result was a lot of unwanted sound. Capra was very keen on recording the film’s sound live on set, and as such a way to make silent snow had to be found. The answer to Capra’s demand came in the shape of a mixture of foamite, soap and water being pumped through a wind machine at high pressure. Is there a more peaceful, natural silence than a winter’s night where the noise of the world is muffled by the fall of snow? The creation of this silent snow helped to heighten the emotion of what is now one of the most beloved movie scenes of all time: after wishing he was never born, George eventually wins his life back after praying for it from God; the answer to his prayer comes with the silent falling of snow that goes unnoticed to George, representing that he is now back in his own reality.

“I wanna live again. I wanna live again. Please, God, let me live again.”

Cinematic perfection.

Of course, Capra’s greatest innovation in directing It’s a Wonderful life was hewing out the performance of the movie’s stars, most notably those of Donna Reed and James Stewart. The influence of the Second World War on the pair’s performances is too vast to encapsulate within this review, and not enough credit can be given to these actors for utilising their own possibly traumatic experiences from that conflict to give such raw and truthful renderings of their characters. The pair’s chemistry with each other represented the two major emotions found in the war’s aftermath: George is the jaded cynic contemplating whether life will be the same again and Mary is the life-affirming optimist within this new found world. With this dynamic, Capra was generous in letting his actors explore their feelings. James Stewart’s return to the big screen did show a notable difference in performance: still very much the All-American Everyman, he was not quite as wide-eyed and naïve as his popular pre-war roles in the likes of Mr. Smith Goes to Washington and Destry Rides Again (1939). This more brooding appearance would eventually lead to the much darker roles he took on under Alfred Hitchcock. The actor himself had doubts about being able to perform certain scenes after his war experience, but these doubts turned out to be unfounded after reassurances from Capra who would let Stewart get his teeth stuck into a scene. By allowing the actors to run away with their own emotions, one of the most electrically charged kiss scenes was born as Stewart and Reed embrace over a fateful phone call. Critics to this day are still surprised it got through the censors.

Capra’s instincts and emotional sensitivity would especially pay off in creating It’s a Wonderful Life‘s biggest tear-jerking moment, in which George Bailey finally crumbles and resorts to prayer over a drink in a bar. Stewart reportedly became overcome with genuine emotion at invoking help from the “Divine Father” and is obviously and unabashedly crying. Capra loved it but had unfortunately filmed the whole thing on a long shot. Stewart had refused another take, knowing that he wouldn’t be able to convincingly act out that scene again, so at great cost Capra had that scene blown up. It remains transcendent to this day.

For a film that unabashedly deals in fantasy and the divine, there is oddly enough no Deus Ex Machina moment. When George returns home joyfully and triumphantly, he hasn’t had his problem’s magically fixed by Clarence. He has merely been returned to his own reality (with $8000 still missing). Furthermore, this isn’t a “be grateful with what you have” kind of story. Indeed, George has been shown the worth of his life by seeing the goodness that his generosity and integrity has brought to his community, and it is indeed these acts of goodness which save him. By helping others in need, those whom he has served have come to help him in his time of need, with it all coming to fruition in the finale as the townspeople of Bedford Falls fill the Bailey home, bringing George money but more importantly their love.

This is not an empty message. In its 75 years of existence, It’s a Wonderful Life’s truth still holds up. Despite the omnipresent darkness of the last few years, we have seen time and time again that we are capable of helping each other. People have fed the hungry, rescued those in peril, clapped for carers, looked after the sick and dying. There is always a danger that the humans that do this giving become weary as it feels like their work is all for naught, or times when it feels too difficult to fight the continuing corruption of those in power, but despite the Potters and Johnsons of this world, the wisdom of It’s a Wonderful Life still rings true.

For all those who have made sacrifices to help others in need, remember our own lives touch so many lives – you may not realise it, but the good you do has a huge and far-reaching impact, the absence of which would be keenly felt. “No man is a failure who has friends.”

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In this Movie List from The Film Magazine, we are counting down the 5 Best Christmas Films with Happy Endings; films that define our human and Christmas spirit.

Follow @thefilmagazine on Twitter.

1. It’s a Wonderful Life

It’s a Wonderful Life Review

Frank Capra’s 1946 film It’s a Wonderful Life tells the story of George Bailey; an everyman from Bedford Falls who is contemplating suicide on Christmas Eve to overcome financial difficulties for his small buildings and loans company. The film is predominantly told in flashback as we see the totality of George’s life, from his being a youngster on the ice in winter-time through to him stood on a bridge staring into the abyss at Christmas. A guardian angel by the name of Clarence comes down to show George what a gift he has been to the people in the town, and shows him a dark alternative world that would have resulted had he never been born.

George learns that family and friends are perhaps the most important aspect of not just his but anybody’s life – as the card from Clarence notes ‘No man is a failure if he has friends’. The film’s climax at the Bailey household finds George redeemed and reborn, full of mirth and joy, as he is surrounded by his wife Mary (Donna Reed) and a town full of benevolent friends. The cathartic release of the film’s finale helps George to prioritise family above money, love above ambition; these lessons are universal and explain the annual appeal of the film. As they sing ‘Auld Lang Syne’ in unison at film’s end, the message is clear that It’s a Wonderful Life is about friendship.

Much like George, the film gained a second chance in the 1970s when it was shown repeatedly on television in the United States; the message of unity through family and only knowing what you have once it’s gone speaks to us all, this masterpiece remaining iconic and beloved to filmgoers old and new year upon year.

Recommended for you: It’s a Wonderful Life – The Truest of Christmas Films

2. White Christmas

Directed by Michael Curtiz (Casablanca), White Christmas (based upon Irving Berlin’s hit single) stars Bing Crosby and Danny Kaye as Bob Wallace and Phil Davis – army buddies who post-WW2 go into showbusiness together. Over the Christmas holidays, they happen upon a holiday resort that is run by their former Major in command (Dean Jagger) and has fallen on hard times. With the help of sisters Rosemary Clooney and Vera-Ellen they enlist their show to help the inn return to its former glory.

While Crosby does charm his way through the film, the star of the show is Kaye. As the buffoonish Davis, Kaye does wonders with a sidekick role and has the best dance number in “The Best Things Happen When You’re Dancing”. It’s feel-good filmmaking for the soul.

The ending is wonderful in that the whole platoon from the start of the film returns to pay homage and honour the service record of their former leader. All the soldiers appearing in uniform to respect their commander means more to him than anything else – a show of solidarity and brotherhood you could only find in the military. Then the film concludes with a rendition of the famous titular song by all the cast as snow descends upon the Vermont location. The magic of Hollywood.

One such an answer that is often the cause of grievance and controversy is John McTiernan’s Die Hard (1988). For those who adore the season’s staples such as White Christmas and It’s A Wonderful Life, and modern favourites such as Elf and Love Actually, the idea that a film about a showdown between a single NYPD officer and a group of vicious terrorists is even considered a Christmas film is, frankly, disgusting.

Well, sorry haters, but it turns out that Die Hard is actually part of a long tradition of non-conventional Christmas flicks – we have an extensive catalogue of Christmas Horrors for example, from Black Christmas in 1974 to Krampus in 2015. Christmas even makes its appearances in the most unlikely of plots: Terry Gilliam’s masterpiece Brazil, an Orwellian black comedy, is a prime example, as is the legendary crime thriller The French Connection. However, neither of these examples are considered Christmas movies (not even in the alternative or ironic sense), and rightly so. Christmas isn’t the focus of these films and is in fact used to highlight the darkness and evil of the stories it’s used in. That’s not very festive at all!

How Can a film Be Considered a True Christmas Movie Beyond the Mere Inclusion of the Holiday?

If we ignore the blatant capitalist message behind nearly every mainstream Yuletide film, we should consider the real message behind the original Christmas Story – The Nativity of course.

Pushing past the shepherds, kings and angels, Christmas is essentially the tale of light shining in the darkness, living in the hope of reconciliation and redemption. These are therefore the essential themes of any real Christmas film. Natalie Hayes of BBC Culture, in her article “The Magic Formula that Makes the Perfect Christmas Film”, noted that for a film to be considered a true Christmas movie, it must include the following elements: desire, a touch of magic, the value of family, and of course a dose of trial and tribulation for our heroes to overcome.

As hollow as some of these films seem to be to the lovers of a more Traditional Noel, the likes of Jingle All the Way do in fact meet these requirements, and with Die Hard being one of the most exceptional and beloved action movies of all time, it seems a very reasonable choice as a favourite Christmas film too. But what has come to my notice is the criminal overlooking of another alternative festive watch, one with striking similarities to Die Hard, released only a year prior: Lethal Weapon.

Like Die Hard, Richard Donner’s film meets the pre-requisites of a Christmas Classic and is again one of the most popular action movies from the 80s, likewise spawning an iconic franchise. Have we been duped all along with putting our money behind the inferior flick, or is Die Hard truly the superior of the pair? On the basis of which film boasts the truest Christmas Spirit, let us experience the most exciting of movie battles… Die Hard vs Lethal Weapon.

Desire

Is there an element of desire in these films? A want for something unattainable?

This is the first of the many uncanny similarities between Lethal Weapon and Die Hard, as both display a desire for a return to normality.

In Die Hard, John McClane (Bruce Willis) is flying to L.A from New York to see his wife Holly Gennaro (Bonnie Bedelia) on Christmas Eve, who works at the Nakatomi Plaza which is throwing a party. It becomes apparent that this is the first time John and Holly have seen each other in over six months and that they are more or less separated (especially as Holly is now going by her maiden name). It is revealed that Holly’s move to L.A. for a once in a lifetime promotion became a point of contention in their relationship – we don’t know exactly why, but it’s easy enough to make some assumptions: back in 1988, finding out that your wife is making more money than you would be an enormous shake up in the family dynamic, possibly too much for some men to handle. It is clear though, that although they are estranged, their marriage isn’t finished – Holly and John obviously still have feelings for one another, but it’s mixed in with a great deal of hurt, stopping them from seeing eye to eye. Thus we have the desire element: John wants a return to normality, the re-establishment of his traditional family set up (very nuclear, with the man being the breadwinner and all), but more importantly he desires to be a part of his family’s lives again.

Lethal Weapon has a more convergent plot than Die Hard.

It begins with the daily life of two LAPD police detectives – Roger Murtaugh (Danny Glover), a fairly buttoned-down distinguished officer who enjoys the comforts of marital and familial bliss (and is learning to try to age gracefully), and Martin Riggs (Mel Gibson), a seemingly unattached man who is a total loose cannon on the job, wreaking havoc in his wake. The plot gleefully puts this odd couple together. It is Riggs who is the festive focal point of the movie as it his character that embodies the required desire element. Riggs’ careless and dangerous behaviour at work is suspected to be caused by suicidal tendencies after recently losing his wife in a car accident. There are occasions where it seems Riggs indeed wants to end his life, but this is actually more the desire to be reunited with his wife – the desire to be in a loving relationship again, the desire to have purpose.

It seems to be contradictory to the spirit of Christmas to have the film focus on the likes of depression and suicide, let alone in a film with probably the most insensitive approach to these topics, but that would be ignoring the fact that one of the most popular Christmas movies of all time, It’s A Wonderful Life, is about the divine intervention of an Angel working to stop a man from taking his own life on Christmas Eve. Die Hard is also depicting a common theme in Christmas fare, which is the impending breakdown of the family unit seen in the likes of The Preacher’s Wife and The Santa Clause. Technically both films are winning Brownie Points on that front, but the desire element is far more visceral in the case of Lethal Weapon: a shot of a teary-eyed Riggs shakily placing the end of the gun in his mouth after looking at the wedding photos of his dead wife is truly impactful.

Magic

The magic we could see in the likes of Die Hard and Lethal Weapon is not going to be in the traditional vein: no angels, no reindeer, no pixie dust, and very sadly no Santa Claus! That does not mean, however, that the magic they do have is not completely spine-tingling.

At first glance, the magic in Lethal Weapon is rather elusive, but it becomes apparent that the touch of Magic is indeed Martin Riggs, or really more Martin Riggs’ unorthodox policing methods:

“You’re not trying to draw a psycho pension! You really are crazy!”

In the real world, Riggs’ behaviour is not the kind to praise or laud, but Riggs’ apparent death wish makes him an almost unstoppable crime-fighting force – a lethal weapon. From deescalating a possible shootout by scaring the life out of a perpetrator, and saving a potential jumper’s life by throwing himself off the building whilst cuffed to them, it can be said Riggs gets the job done (in the most thoroughly entertaining way possible). However, his magical powers aren’t fully activated until he and Murtaugh are captured by the movie’s villainous drug barons – is it the electric shock torture or the power of new found friendship with Roger Murtaugh? Either way, Riggs is propelled into overcoming his captors and killing every bad guy that stands in his way, all in the name of rescuing his new partner. By the time we reach the climax, he is brutalised and half-drowned, yet he still manages to subdue the film’s Big Bad, Joshua (Gary Busey), by the power of his thighs alone. Magic.

With all that said, John McClane smirks and replies with a “Hold my beer.”

Die Hard is a more plot-driven story which lends itself to even more glorious action movie magic. It is made clear from the very beginning that McClane possesses the power of snarkiness, but the storming of Nakatomi Plaza by Hans Gruber’s (Alan Rickman’s) team of terrorists/thieves, catches McClane with his pants down (or rather with his shoes and socks off), leaving him to watch helplessly as the revellers of the office party are rounded up as hostages and Holly’s boss Mr Takagi (James Shigeta) is murdered. Luckily a present from Santa Claus re-establishes his cocky self-assuredness:

“Now I have a machine gun. Ho, ho, ho.”

In the 2 hour run-time, we witness McClane relentlessly wiggle his way out of tight squeezes using the meagre resources at his disposal (which he usually attains by annihilating some hapless bad guy), whether its irritating Gruber with smart-ass comments through a stolen walkie-talkie or tossing the body of a man out of the window in an attempt to attract help from the outside. It is once McClane manages to get the attention of the LAPD (the corpse-tossing worked a treat) that the real magic begins, which is the revelation that McClane is better than everyone else alive, including you – ironic given that he spent the first half hour desperately crying out for help.

Recommended for you: I’m a 90s Kid and I Watched Die Hard for the First Time This Year

John McClane resolves the terrorist siege single-handedly despite the presence of the LAPD, SWAT and the FBI; in fact McClane saves these apparent bozos from the machinations of the terrorists several times (whilst being mistaken as some sort of psycho killer to boot). Such a magical moment includes McClane blowing up a whole floor of terrorists (without miraculously harming any of the hostages), thus stopping their rocket launcher onslaught against the unsuspecting SWAT teams attempting to storm the plaza. Another noteworthy moment is when he rescues all the hostages from certain death seconds before some idiotic FBI agents unwittingly blow up a helipad they were gathered on (and as if saving countless lives isn’t enough, he narrowly escapes this chaos by leaping off the building with only a fire hose to save him from gravity).

It can’t be denied that the police politics of this 80s classic would be unnerving to modern eyes with its idolisation of McClane’s almost vigilante brand of justice, but with a healthy dose of self-awareness Die Hard is the ultimate power fantasy; one that is guaranteed to put a smile on your face. The exact kind of magic that you would need and want at Christmas.

As a basic siege film, the physical dangers faced by John McClane in Die Hard are of a much greater intensity than that of the leading duo in Lethal Weapon: the action is non-stop and quick paced, and far more shocking and gory. However, whilst Die Hard is driven by its plot, Lethal Weapon is more character focused, and as a consequence the psychological hurdles presented in Lethal Weapon are much more immense than those seen in Die Hard, despite the huge amount of peril Holly and John McClane face.

The Value of Family

It is now time to consider how much family is valued in these films; starting with Die Hard…

Is this film not just a metaphor for marriage and the active battle that is maintaining such a relationship?

It has to be confessed that it’s not exactly hard to be initially disappointed by John when we first meet him. It appears he has let his fragile masculinity get in the way of his marriage as he struggles to cope with his wife’s flourishing career. But my goodness is this an incredible attempt at reconciliation; the man walks over broken glass barefoot for Christ’s sake!

As we all know, big grand gestures can often be empty and meaningless; it is changed behaviour that is the real apology. So what a brilliant way to finish off this metaphor with Hans Gruber being defeated by John and Holly working together; transforming their marriage into a partnership – a union of absolute equals. It earns their riding off into the sunset, entangled in each other’s arms, and so gives us that desired cosy Christmas feeling – excellent!

Lethal Weapon, by comparison, has no such romantic metaphor; it instead depicts the very real devastation caused by unimaginable loss.

Martin Riggs is a man who is constantly putting himself and others in danger through his reckless behaviour, as he is now without purpose. He does state that it is “the job” that has so far prevented him from eating one of his own bullets, but the way he achieves results still points to a blatant death wish.

It’s when the initially dubious Murtaugh begins to let his guard down and allows Riggs into his inner sanctum, inviting him into his family home, that we see a transformation in Riggs. For you see, the central criminal scandal of Lethal Weapon – ex Vietnam War Special Forces officers turned drug baron mercenaries – most deeply affects Murtaugh; he is the most entangled and has the most to lose from this situation. By actually giving Riggs a chance (whose life literally hangs in the balance if he can’t find a working partnership), Riggs no longer lives dangerously for the sake of trying to feel alive whilst consumed with grief, he instead directs all of his ferocity towards protecting Murtaugh and his interests; this deep sense of caring spreads to the wider community surrounding him, seen when he is willing to grapple in the mud with Joshua after he murdered his fellow officers.

Lethal Weapon, in the contest of greatest redemption arc, takes the victory: Riggs is quite literally pulled from the jaws of death by the power of found family through his partnership with Murtaugh – they even share Christmas dinner. This transformation from death to life proves that Lethal Weapon values family the greatest.

True Christmas films are affairs of great emotion, our heroes often go through hell to then be redeemed with the happiest of endings. This is true for both Die Hard and Lethal Weapon, but it is proven that Lethal Weapon boasts the most intense and emotionally driven Christmas tale of hope.

All you Die Hard fans may have to reconsider your all-time favourite Christmas film, but if you guys don’t change your mind, there is nothing but respect for you: Die Hard is pretty kickass.

Recommended for you: 10 Excellent Non-Christmas Films Set at Christmas

Tokyo Godfathers (2003)
Directors: Satoshi Kon, Shôgo Furuya
Screenwriters: Satoshi Kon, Keiko Nobumoto
Starring: Tôru Emori, Yoshiaki Umegaki, Aya Okamoto, Kyôko Terase, Hiroya Ishimaru

Christmas is not a time of happiness for all, in fact for a great many people it’s extremely difficult. Can you imagine being alone and on the streets at what is supposedly the most wonderful time of the year? I sincerely hope you do only have to imagine.

Satoshi Kon was an animation visionary who produced four thoughtful, striking and unique features (Perfect Blue; Millennium Actress; Tokyo Godfathers and Paprika) and one anime series (‘Paranoia Agent’) before passing away at the tragically early age of 46. Tokyo Godfathers is easily his most accessible and crowd-pleasing work, the rare Japanese Christmas movie complete with all the tropes and themes a Western audience comes to expect from such a product.

Tokyo Godfathers opens on an unusual sight – a nativity play in Japan with a mismatched pair watching in the audience. Said pair are Gin (Tôru Emori) and Hana/Uncle Bag (Yoshiaki Umegaki), and they live on the streets with teen runaway Miyuki (Aya Okamoto). The lives of all three unlikely companions are about to change as they find the most Christmassy of miracles, an abandoned baby in need of a home. As they try and survive Christmas together and get baby Kiyoko across winter Tokyo to her parents, their varied past lives catch steadily up to all of them.

Any Westerner who’s been to Japan at the right time of year knows Christmas there is a unique experience. It’s like viewing the festive season through a distorted, if focussing, lens. The iconography is all there, but in Japan it’s one of many festivals in an unreligious but spiritual nation. It’s an interesting starting point from which to make a Christmas film.

Japanese culture is unforgiving towards vagrancy and especially theft, even if you’re stealing to survive. Waling around Tokyo you might occasionally see where the homeless have spent the night on the streets, but the evidence is generally cleared away by morning. It’s not in-keeping with a sense of personal honour to ask for or receive help on the streets, or to pity those who find themselves in that situation. As a doctor says to Gin at one point without mirth, “I can try to cure disease. Lifestyle is something you have to fix”. This would make a great double bill with Hirokazu Koreeda’s Shoplifters, both films matching tone, theme and spirit so well, not to mention both being none-too-critical of contemporary Japanese attitudes to certain less privileged sectors of society.

Unlike the majority of classic anime character designs, Satoshi Kon isn’t afraid of making the people who inhabit his animated universes ugly. You’ve probably heard of “ugly crying”, Kon’s characters are into “ugly being” but are all the more expressive and compelling for all their flaws.

Tokyo Godfathers is a Christmas movie, a dysfunctional family comedy-drama and a most unconventional love story. Not many comedy-dramas end with a great action scene, even fewer relationship films follow, as two of three protagonists, a gay transvestite in love with his apparently straight divorcee friend, no physical attraction between them but plenty of affection and a shared desire to parent a teenager and a baby between them.

The film is very pro-foster families and unconventional family dynamics. Hana’s most impassioned outburst has her heartbreakingly declare, “Nothing should make you abandon a child! That means you’ve taken love and tossed it away, like trash”.

It goes a bit It’s a Wonderful Life at points with magical Christmas imagery, strange happenings and just a little schmaltz, but it’s also grounded and rooted in the real streets of Tokyo. When an angel appears to Gin and says, “What is it you desire, my magic, or an ambulance?” Gin takes the ambulance without hesitation, offending the angel, in actuality a drag queen from the same bar that Hana made her name.

The sudden plot diversion to a gangster’s wedding that happens early on admittedly doesn’t go anywhere, but otherwise Tokyo Godfathers is near-perfect in execution of a compelling animated story. Not a hair is unintentionally out of place, and speaking of hair, when we see Hana contemplating her existence on a bridge as a gust of wind catches a strand of her hair, it is one of the most beautiful hand-drawn animated moments ever put to screen, despite, and emphasised by, the relative roughness of the animation elsewhere. This is a simply magical ode to familial love, and not just at Christmas, whatever shape that family takes.

23/24

Yes, another one.

The latter half of the 2010s has been dominated by massive political instability the world over, but in the UK things have been particularly rocky, with seemingly no household left untouched by the poison of Brexit.

The now infamous EU referendum seems to have brought out the worst in British people as it has fanned the flames of ignorance, xenophobia and jingoism, as well as stirring up ridiculous aspirations of long gone imperial glory.

Christmas Dinners haven’t been the same since: nothing is quite as crushing as finding out your grandparents do not care for the plight of Syrian refugees over a plate of Brussel Sprouts. It’s enough to make you consider bribing the paperboy to stop delivering the Daily Mail to their house.

Christmas 2019 is currently shrouded in mystery, and we can’t help but be overwhelmed by anxiety over the result of this election. As the UK seems to lean towards the values of isolationism and exceptionalism, it is exceedingly difficult to not see the irony in the Yuletide setting of this General Election.

Despite prominent Conservative Party figures such as Theresa May, Angela Leadsom and Jacob Rees-Mogg being self-proclaimed “Christians”, the policies of the “Nasty Party” do not fit with the spirit of The Gospels that proclaim the story of Christmas.

So, with the policy of Austerity firmly in the forefront of the public’s consciousness and the empowered so-called “religious right” insulting the true meaning of Christmas on an undebatably daily basis, it is perhaps without surprise that a publication titled The Film Magazine would have writers such as myself who would find solace and humour (though admittedly more regularly dark humour) in comparing the draconian landscape of Tory ruled Britain and its somewhat woeful political discourse to movies of the festive period we currently occupy… Christmas.

Here’s to hoping that this piece, an article of five Christmas films re-worked to fit current political discussions, can inject a little humour into our midwinter darkness.

Have an opinion? Make sure to leave a comment! 

1. A Christmas Carol

Instead of a grasping miser who cares not a button for those less fortunate around them, Dickens’ festive masterpiece would focus on those individuals who sit on the political fence. You know the type: those who parrot the irritating phrases “Politics doesn’t interest me”, “They’re all as bad as each other” and etc.. The kind of person who in this age of political crises are conspicuous by their absence come election day.

On the eve of the election, such an individual – one who is happy to not take the responsibility of the choice that their ancestors fought valiantly for – is haunted by three ghosts: the ghosts of British Politics Past, Present and Yet to Come; and each take their turn to show their subject a horrifying vision.

The Ghost of British Politics Past shows the great injustices of the 20th Century, including the 1930s with Britain boasting millions of unemployed, Europe’s poorest slums and graveyards full of tiny coffins.

The Ghost of the Present shows the plight of modern day working families: both parents are in work yet they still rely on food banks or skipping meals to feed their children, who are consequently clinically depressed by impending ecological disaster.

Finally, The Ghost of British Politics Yet to Come reveals the final vision of a tax haven run by a handful of super rich overlords in which the masses live as slaves. The land is full of Amazon workhouses where the “employees” are obligated to pull 18 hour days and spend the remaining six within the workhouse premises where no relationships or familial units are allowed to exist.

Thus, our poor soul is saved and they swear to change their ways; but despite their best efforts, Tiny Tim still dies as millions are a no-show at the polls and the Tories continue with their dismantlement of the NHS.

2. It’s A Wonderful Life

Since the results of the EU Referendum were announced on that fateful day in June 2016, not a single person has been happy since.

Remainers have been on a three-year long anxiety bender, whilst hardcore Brexiteers foam at the mouth and risk an aneurysm with each deadline extension.

Folks more transient in their views have suffered throughout the whole journey, with some Leave voters left feeling incredibly guilty and some in the Remain camp being no longer able to abide the uncertainty, just wishing to crash out of the EU as soon as possible.

Even further, those who live the sweet apathetic life can’t even escape it as it has blighted the news every single day since the result.

In short, the whole thing is a dreadful mess and the end is nowhere in sight.

Why can’t things go back to the way they were before? Back to the days when we never even talked about the European Union!

In the madness and despair orchestrated by the incompetent leaders in Downing Street, and almost schoolboy antics in Westminster, complimented by the apparent cold indifference from Brussels, it’s enough to make any “George Bailey” cry out:

“I wish the EU was never formed!”

Clarence, the angel sent to rescue them from their Brexit depression, complies and pulls back the curtain to reveal a world in which the EU was never created. And what a hideous sight it is!

Our George Bailey staggers through a very different Europe, one ravaged by famine and war. Without the work of those first pioneers and the growing economy in the community of the first six membership nations, the rest of Europe has no attainable vision of an alternative to their oppressors.

Half of Europe is shuttered away behind the Iron Curtain, any movements for democracy are crushed by the Soviet Union; whilst concurrently, fascism lives on with successors of Salazar and Franco going strong.

Finally, George Bailey drops to his knees at the graveside of his brother Harry – a victim of a bombing attack on Britain. With no reconciliation between the entwined turbulent pasts of Germany and France, there is no centralised movement towards continental peace. Europe remains divided with old grievances not forgiven. The continent is plunged into constant war with countless casualties.

With the realisation of how much death and destruction his wish causes, George Bailey calls out to God that he wants the EU back – a prayer we may all find ourselves wailing out in the following months.

Recommended for you: It’s A Wonderful Life: The Truest of Christmas Films

Director: Gillian Armstrong
Screenplay: Robin Swicord, based on the novel by Louisa May Alcott
Starring: Winona Ryder, Gabriel Byrne, Trini Alvarado, Samantha Mathis, Kirsten Dunst, Claire Danes, Christian Bale, Eric Stoltz, Susan Sarandon

After a decade-long slog through the backwaters of American Independent Cinema (both in front of and behind the camera) Greta Gerwig finally broke her way into the public consciousness with her first solo directing gig – the irreverent Lady Bird. A hit with critics and audiences, the announcement of her next directorial project, Little Women, was received with great enthusiasm all around. “Little Women” is an incredibly precious story to girls and women across the world (evidently so as Gerwig’s adaptation will be the fourth film based on the Louisa May Alcott novel) and for good reason. The story of four sisters seeking their own destiny during the American Civil War is a significant piece of feminist literature prior to the Women’s Suffrage era; up there with the likes of “Pride and Prejudice” and “Jane Eyre”. So, despite the genuine and pleasant anticipation for Gerwig’s version, it has some big shoes to fill. Standards have not only been set by Alcott’s novel but also by previous adaptations, all of which have Academy Award nominations (and a few with wins). The 1933 and ’49 versions are typically popular with our grandmothers’ generation, but the beloved 1994 movie was an experience shared with mothers and daughters of the millennium. This version, a Gillian Armstrong directorial effort, is to many the definitive version.

Watching Little Women in many ways transcends the act of enjoying a movie – you almost feel like a time traveller, witnessing the change and transformation of the principal characters throughout their lives. This is of testament to the fact that Gillian Armstrong’s work is an example of extraordinary filmmaking: individual elements exceeding expectations to then be combined into an outstanding single artwork. Not only is it a viewing experience, but it can act as a tradition. Even though most of the film’s action takes place across all the seasons of the year, Little Women has come to sit amongst the likes of It’s A Wonderful Life and The Snowman as typical Christmas viewing; a true testament to its hearty appeal.

Little Women follows the lives of four young sisters as told by the second oldest – the wild and headstrong Jo March (Ryder). Meg (Alvarado) is the eldest sister, followed by Jo, Beth (Danes) and finally Amy (Dunst/Mathis), the youngest. Their father is away from home serving as a chaplain amongst the Unionist troops, leaving his daughters and their “Marmee” (Sarandon) to fend for themselves in a world dominated by poverty, classism and sexism. In the face of all this adversity, the March girls are still given an outspoken and loving upbringing that makes them unafraid to chase after their dreams. In their world of pomp and circumstance, these sisters remain faithful to their parents’ teachings of the equality of all people and the utmost importance of compassion, and often challenge the expectations of female behaviour at the time. The witnessing of these young girls transforming into little women is overall heart-warming, often bittersweet and finally triumphant as Jo, Beth, Meg and Amy experience all the trials of growing up in a story that still resonates with young, contemporary audiences.

What impresses me the most is how enthusiastic this adaption is, especially in remaining faithful to the tone of the book. For a modern reader, it is very easy to smirk and sneer at the March girls who often get excited at the prospect of an evening in, reading “The Bible”. More often than not, Hollywood can hardly resist putting a modern edge to supposedly out-dated stories in an attempt to make them more palatable, but Anderson’s version boldly showcases the lives of four Christian girls whom wholeheartedly believe in the Tenets they were raised with. Without embarrassment over these sisters’ funny old-fashioned ways, the film is able to fully immerse the audience into a different time and place, creating an unexpected empathy. We can believe these girls would give away their much-anticipated Christmas Breakfast to cold and hungry refugees, and we can believe it is because of their massively compassionate hearts (with only a little bit of a sanctimonious air). This faithfulness allows us to appreciate the struggle women endured at the time – a varnish of fourth-wave feminism would get in the way of not only the story of the March girls but also the origins of Women’s Suffrage as a whole.

The stunning fidelity to Alcott’s semi-autobiographical tale is achieved by the incredible characterisations of the March girls (and the other principal characters) alongside the fantastic performances used to deliver these most beloved personages. It goes without saying that the casting of this movie is phenomenal with many of the actors validating their A-List status through this movie alone. Trini Alvarado perfectly embodies the fine line many eldest siblings tread, playing a character constantly outraged and aggravated by the antics of younger sisters whilst also having the maturity to shoulder responsibility from their parents in times of strife, especially to bring happiness to the younger ones. Kirsten Dunst and Claire Danes wow audiences with incredibly dedicated performances despite their young ages (Danes was 14, Dunst was 11), both perfectly embodying their respective characters to such an extent that its difficult to see where Danes and Dunst end, and where Amy and Beth begin, to the point that you could unfairly label Dunst as precocious/annoying and Danes as too quiet. Those who make that mistake would miss the enjoyably spoilt, materialistic nature of the baby of the family, as Kirsten Dunst’s Amy causes you to flash back to all the times you threatened to murder a troublesome younger sibling. Then of course we have Winona Ryder as Jo, in the role she was seemingly born to play. Ryder proves that she is the unchallenged star of the show, creating a Jo who is fierce, outspoken, headstrong, emotional and compassionate. It’s simply an inspired performance with Ryder’s Jo embodying the woman who girls of the nineties dreamed of becoming. We can credit Ryder with one of the most real characters ever seen on screen as she throws herself entirely into Jo’s tempers and passions; creating a tangible, empathetic protagonist. This movie may possibly be the only time audiences see the true extent of the rage of a teenage girl and it is fantastic. Most importantly, she doesn’t use Jo as a vehicle of contemporary feminism, instead staying true to the aspirations of the characterisation in the novel, leading to a message that is able to speak to women of all ages, including those who are yet to discover the film. And then, of course, there’s Christian Bale who embodies every girl’s adolescent crush in the character of Laurie.

Despite the film being literally stuffed with outstanding performances and hugely emotional scenes, it does suffer with pacing issues. Like Tolkien’s “The Hobbit”, filmmakers have often struggled with adapting the works of Alcott – the actual novel of “Little Women” only provides the plot of the first hour of the film, for example. The rest of the runtime is made up by “Good Wives”, which is often published alongside “Little Women” as a sort of Part Two within one book. However, as the original novel of “Little Women” works as a self-contained story in its own right, the film does seem to climax prematurely, and it could be said that it then has a much slower separate plot tacked on to the end. There are many memorable and wonderful moments after the first hour mark admittedly, but the change in intensity is jarring, itself made prominent with the swapping-in of the more forgettable Samantha Mathis as a grown up Amy. There is enough charm to keep audiences hooked but the tension of the first hour is certainly missed.

Beyond the power of the narrative and the story, Little Women proves to be a truly sumptuous watch. My personal recommendation is to watch the film during the lazy nights of Christmas and New Year’s Day, underneath a throw with a hot chocolate: man or woman, brothers or sisters. This movie deserves to become such an annual tradition as every element is executed to the highest possible standard of the industry.

It is universally acknowledged that Thomas Newton was absolutely robbed at the 1995 Academy Awards with his musical score being as instantly recognisable as the likes of John Williams’ blockbuster compositions. Even his shortest pieces invoke multiple themes and emotions including Christmas, mischief, romance and grief. Listening to the music alone is almost as enjoyable as actually watching the film.

Little Women is equally pleasing from a visual standpoint, with aspects such as hair and wardrobe achieving stunning yet historically accurate period pieces, boasting authenticity as one character’s dress becomes a hand me down, passing to their younger sisters; such attention to detail is a sheer delight to see in any movie. The pièce de résistance is, however, the set design and location shooting – the interior design of the March home was based on the layout of Orchard House, Louisa Alcott’s childhood home, and Craigdarroch Castle in all of its original glorious woodwork provides the setting for Engagement and “Coming Out” Parties. To have watched the film to death on VHS and then to experience it on a 4K television was amazing. After 20 years it was the first time I could appreciate how beautiful this movie actually is and the immense amount of hard work that was poured into it by all departments.

At this point it is blindingly clear that Little Women was filmed with an almost reverent love; anything less and I don’t think the movie would have been able to bestow such an authentic message. Just like a real family, there are countless struggles and trials that are dealt with humility and honesty. The countless families that have dealt with grief and loss are able to see themselves within the March sisters and revel in the reflection of the love they see in their own lives. My favourite aspect is the depiction of friendship between a man and a woman: Winona Ryder and Christian Bale perfectly show the loving and selfless, giving and taking of a relationship without sexual undertones, the likes of which often cheapen such depicted relationships in film. It is true that a romantic element comes in between Laurie and Jo, but it smashes expectations and clichés, and is even quite courageous in its approach.

Little Women is a truly unique movie, arising out of the decade of action blockbusters with a surprisingly huge amount of warmth. A faithful adaption and stunning period piece. The popularity and the importance of Alcott’s novels means continued adaptions are certain, but so long as filmmakers aim to reach the lofty heights achieved by Gillian Armstrong, any future attempt should do this beloved book justice.

20/24

The colder and darker evenings are perfect for getting cosy on the sofa in front of a film with a cup of hot cocoa or mulled wine. For those of you who are stuck for something new to watch, we have compiled a list of some of the best vintage and classic films that are sure to warm you up in the Winter months.

All That Heaven Allows (1955)

This 1955 drama starring Rock Hudson and Jane Wyman will have you dreaming of being in a quaint little log cabin in the woods with that special someone. The thought of a warm fireplace on a snowy night, love overcoming all obstacles, and the beautiful final image of a deer walking through the snow. Could you ask for anything more?

The Wizard of Oz (1939)

This classic musical starring Judy Garland has taught generations that ‘there’s no place like home’. A wonderful family film that brings everybody together, The Wizard of Oz is timeless.

Modern Times (1936)

Directed, written by and starring the iconic Charlie Chaplin, Modern Times is relevant to its pre-WWII era but remains identifiable to this day. The highly-rated silent movie presents a strong lead character getting through rough times in life and pulling through all of his struggles with love. The setting of the industrial revolution gives a ‘stick it to the man’ attitude that radiates a feel-good tone.

City Lights (1931)

Charlie Chaplin movies will never feel outdated, yet while City Lights can be watched any time of year, the warmth that Chaplin’s character presents and the love in his heart is sure to make you feel fuzzy like we all wish to feel in the coldest of months. This silent slapstick movie will also have you belly-laughing throughout.

Bringing Up Baby (1938)

A rib-tickling comedy starring Katharine Hepburn, Cary Grant, a dinosaur and a leopard. I know what you’re thinking, but trust me, it works. Ridiculous and hilarious, if the laughs don’t warm you up, the endearing lead characters will.

As for part 2.. let’s just get stuck in and try to enjoy my ramblings on the divine…

Spoiler Alert!!!

Blade Runner (1982)

Yes, yes. I’m back on the existential-crisis inducing sci-fi movies again. And, like “2001: Space Odyssey” and the soon-to-be-mentioned “Cloud Atlas”, the spiritual experience I had watching this film can be largely attributed to the sheer beauty of the movie. The setting is gob-smacking (it even makes me excited to drive through Middlesbrough – the only real-life comparison I can think of) and the music is somehow both synthetic and deep, perhaps even sensual and mournful at times. The whole affair is a devilishly stylish and futuristic Film Noir.

Although it brings up interesting musings on God/The Creator, the source of my experience comes from its focus on humanity and the human condition. The film (based on Philip K Dick’s novel) is set in a dreadfully dismal future: the world has been devastated by a generic nuclear apocalypse and much of the population have left the Earth to make a new life for themselves in off-world colonies. It’s a hard existence, so androids (or ‘Replicants’) are created to do all of the awful jobs necessary for the survival of the colonies. Some Replicants escape from these pitiful lives and try to make a life for themselves on Earth, but these renegade androids are considered extremely dangerous – they are stronger, quicker and more resilient than humans – and, as androids, they are designed with sub-par emotions and empathy, giving them the potential to be ruthless killers. As such, Bounty Hunters (often referred to as “Blade Runners”) are employed to track them down and take them out.

Deckard (Harrison Ford) is reinstated as the titular Blade Runner when one of his former colleagues is gravely injured after an encounter with a suspected runaway android; his boss is anxious for him to take up the job as four Replicants have actually escaped to Earth together. As if this wasn’t bad enough, it’s revealed that the escaped androids are the latest Nexus-6 models from the Tyrell Corporation. Dr Eldon Tyrell (Joe Turkell) himself, “Thee Creator”, is not so much a mad scientist but more of a man driven by perfection and is evidently enormously proud of his accomplishments in Replicant design – his androids are so identical to humans it’s nearly impossible to distinguish between them, making Deckard’s work that much more difficult. Fortunately, their inferior emotional and empathetic capacities allow them to be identified via “Voight-Kampff” analysis which detects the physiological responses associated with emotion and empathy. There’s only one problem: his latest Nexus-6 models now have an emotional capacity equivalent to that of humans. Shit.

Not only are these Replicants harder to find, but they are also more emotionally bombastic too – Tyrell has tried to compensate for this by inserting a 4-year life span into these models, but this offers little comfort to the hapless Deckard. He witnesses how bad this design can be when he analyses Tyrell’s niece Rachael (Sean Young) with the Vogiht-Kampff analysis. Deckard laboriously struggles to get a definite result from the test, causing Tyrell to reveal in a flurry of triumph that Rachael is in fact an android who has been transplanted with memories from Tyrell’s real niece, making her unaware of the fact that she is not a human. As you can probably guess, this can only end in tears.

What moved me to my core about this movie was the way it displayed and analysed what it means to be human. This is hard to articulate because I know what constitutes being a human, but this film left me in absolute awe. It reinvigorated my principles and helped challenge my apathy towards the plight of my fellow man. As you see throughout the movie, all the humans encountered are bland and unremarkable, it is the replicants who were the most vivid and vibrant. At first their violence is shocking (watching all of Deckard’s beatings genuinely left me with a headache, no wonder Harrison Ford had such an awful time making this movie), so you can understand why they are so relentlessly hunted, but these four escapee Replicants have escaped to Earth to find their creator; they simply do not want to die and are willing to bargain for their lives. What would any one of us do when boxed into a corner with death quickly approaching? Fight like hell! The Replicants’ want for life is so utterly desperate it is incredibly moving, as it hits home to the centre of my existence: the dread of being aware of my own mortality. Zhora (Joanna Cassidy), one of the four hiding Replicants, is disguising herself as an exotic entertainer but is soon discovered by Deckard. After a confrontation, she runs off into the crowded city – it seems she may get away in the hustle and bustle of the over-populated scape, but Deckard finds a shot and takes it. Bleeding, injured and terrified, Zhora clings on to her version life, an effort that causes her great pain. It is another gunshot and several glass windows that finally extinguish her life. In those last few minutes, she was terrified and suffering massively, yet she didn’t give the fight when it would have been so easy for her to let death wash over her.

The replicants are the most charismatic beings in the movie (at least over the human characters in the movie) due to the presentation of their raw emotions. Rachael is wonderfully vulnerable and tender. Pris (Daryl Hannah), another of the four, is frightened but rejoices in life and fun. Roy Batty (Rutger Haeur), the leader of the escaped androids, is ferociously protective of his family and is defiant in the face of his sad fate. They stir up much sympathy in the audience, for contrary to what we are led to believe, they each seem perfectly capable of empathy – at least amongst themselves. They love each other’s company but squabble as any group of friend’s do – so their deaths cause inconsolable grief.

The whole point of these Replicants coming to Earth is to get Dr. Tyrell to find a way to increase their life-span. From Roy Batty’s point of view, it’s not for his own sake but for that of Pris, the woman he loves. These beings are sentient and they are now questioning the creator why their most precious gift is snatched from them before they can enjoy it for themselves. So, when Tyrell denies it, the uncontrollable rage and violence that rains down upon him is of the most revolting intensity, but you can’t help thinking Tyrell gets what he deserves. Above everything else that happens in the movie, it is the Replicants that come out on top as the most righteous. As Deckard hunts the last remaining Replicant, a battle ensues in which he is battered beyond belief. Roy ends up in a position where he can easily take Deckard’s life and, why should he not? Deckard clings to the roof of a building as the rain pours; it’s so wet and his fingers are bruised and broken so he cannot maintain his grip. Any slip and he plunges to his death. But, in the moment Roy reaches out and saves Deckard, the man who has killed his family, he resigns to his fate and dies, just lamenting the memories that will die with him before he takes his final breath. Despite every insult laid upon his existence, Roy redeems himself, and offers mercy when none is offered to him. In Roy lies what it means to be human: emotion, suffering, love and the divinity to do the right thing when no one else will.

His death truly is the most tragic, for if anyone deserves to live it is him.

Through this the film also speaks socially, serving as representation for any oppressed group, any people/s who have been dehumanised – this film cries out for us to look from the perspectives of those who are downtrodden and to see the humanity and hence the divinity that rests in all of us, and as such respect their dignity.

Cloud Atlas (2012)

Amongst its majestic philosophies and beliefs, Cloud Atlas is transporting in its production alone. The best word I can use to describe it is: unique. Despite an array of characters from several different storylines – most of the principle roles are played by only a handful of actors transcending gender, race, and age – the film has been criticised that the aesthetic of such a technique can be unconvincing, but I appreciate the actual idea as it is in accordance with the film that every human is connected to each other, beyond the arbitrary labels applied to it by society. This film is a religious experience (like many of the other awesome films in this list) – the craft of the movie alone is practically a testament to God.

The film follows 6 story strands that weave between each other as the film progresses – I must admit it took about an hour and a half for me to truly get into it due to the constant switching between narratives, but I was completely sucked in by the several twists which often felt like a winding kick in the gut. Eventually the plot comes together, allowing you to make sense of the whole thing and the film blossoms like a flower. You realise that all these supposedly random tales from across far flung points in time and space are all linked, and to a point in which they have a profound effect upon one another.

First, in the 1800s Adam Ewing (Jim Sturgess) is a lawyer on a trip to the Pacific to arrange a contract with a slave-trader for Maori slaves. Next follows the struggles of a talented composer Robert Frobisher (Ben Whishaw) in the 1930s as he creates his Magnum Opus. Following this are the adventures of journalist Luisa Rey (Halle Berry) in the 70s as she fights against a corporation cover-up of dangerous nuclear facilities. It then leaps to the modern-day in which a small-time publisher named Timothy Cavendish (Jim Broadbent) inadvertently lands himself in a totalitarian elderly care-home when on the run from thugs. We then zoom into far into a future in which clones are made to do the menial work of looking after natural-born humans. One clone’s life, that of Sonmi-451 (Doona Bae), is suddenly changed from total monotony when she meets a remarkable natural-born “pureblood” human. Finally, in a far-flung and post-apocalyptic future, a tribesman named Zachry (Tom Hanks) is torn between his loyalties as an outsider implores for his help in her mission.

If you were looking at the movie in the most cold and unattached way, all of these plot-lines have only the most tenuous links – discovered letters; journals of the souls from before – but if that is all you see then you need to take your head out of your arse. Each of the main protagonists go through great trials of love and battles for justice. They all muster small moments of courage to do incredible things and lead the way for the rest of mankind. After a slave saves Adam Ewing’s life, he realises he could no longer live with himself by continuing to work within the slave trade, despite how it leads to his personal ruin. Frobisher, in the face of the destruction of his own future, fearlessly sticks up his middle finger to the entitled rich by ensuring they never get their hands on his work, even though he himself perishes. Rey tirelessly works to whistle blow the nuclear reactor situation, even though her pursuit of the truth puts herself and those around her, including her young son, in mortal danger. Sonmi-451 discovers that, as a clone, she is destroyed after 11 years of existence to become food for other clones, and when she is asked to condemn the government that profess clones to be ‘lesser life-forms’, she agrees despite the almost absolute certainty that she will be caught and executed. Zachry, an outcast in his community due to his cowardice, makes the decision to help an outsider get to a place of great dread, despite all of his literal personal demons; his selfless actions lead to the rescue of the remains of the human race on Earth, allowing them to prosper in the colonies.

Even more remarkable is that the good deeds and tremendous acts of those from the past make their presence felt to those succeeding them and, despite how small their presence is, the bravery and the beauty of those before succeed in inspiring goodness in those after them. If Adam had not resigned from the slave trade, would Zachary have saved the human race? Basically, this film reaffirms one of my biggest beliefs and driving forces in life, which Sonmi-451 beautifully articulates:

“Our lives are not our own. From womb to tomb, we are bound to others. Past and present. And by each crime and every kindness, we birth our future.”

I try to live my life, admittedly not always successfully, doing as much good to others as I possibly can, even in the smallest kindnesses – knowing that the tiniest acts will pass on from person to person, having an impact on them, propagating eternally, even after my death. And if this is so, it does not bear thinking about what evil I could leave as my legacy if I walk through life with hatred and apathy. All human souls are connected and are hence all beautiful and equal to one another. We are all always connected, not even death can keep us apart:

“I believe death is only a door. When it closes, another opens. If I cared to imagine a heaven, I would imagine a door opening and behind it, I would find him there.”

The best thing about this movie is that I believe it has helped me to become a better person, even if it was by just a smidge, and that’s the whole point really.

It’s A Wonderful Life (1946)

God, I love this movie so much. It’s probably the biggest tear-jerker on this list and it stands out like a sore thumb as it’s not a sci-fi, fantasy, religious epic, or a story drenched in blood. It is, however, probably the biggest celebration of human goodness in the ordinary man.

I have already unashamedly celebrated this masterpiece on this here website – article here. This film is on the must-watch list of Christmas movies for countless numbers of people all over the world and, in my opinion, is the greatest Christmas movie ever-made as it far more embodies the true Christmas Spirit than any of its contenders.

The initial prayer montage and galaxy/outer space/heaven/God scene can seem a bit hokey and out-dated, but if you let that get on your nerves then you’re a fool as it sets up the premise of the movie which contains the unfortunately everyday, yet saddest event, in human life: the taking of one’s life. Down-trodden and crushed underfoot, at the end of his tether and at breaking point, the central protagonsit is fully convinced that he is better off dead. However, his family and friends, in their sorrow and worry, have fervently prayed for his sake; prayed for his deliverance from his suffering. Their prayers do not fall on deaf ears as his Guardian Angel descends from heaven to earnestly come to his side and help him.

Before we get to that part we learn of how this man, George Bailey (James Stewart), has been driven to this desperate state. George, from the off-set, seems like an ordinary man, but it is revealed that inside shines a keen intellect and fiery ambition far greater than that of his friends and peers. His life is shown as a long flashback, and seeing George as a boy then a young man, you are excited to see if he becomes a well-educated and travelled person whose life will be full of grand accomplishments and achievements. Instead, we see a life of seeming mundanity laid out before him. This is because, beyond the talent and ambition within his being, George is defined by his love for his fellow man.

Throughout his life, you see him sacrifice his dreams for the sake of others. Instead of going off to College, he takes up the top position in the “Bailey Building and Loan” Building Society after the sudden death of his father, as he knows it is the one thing that stops the monopolisation of his hometown, Bedford Falls, by a greedy old man who couldn’t care less if most of the working class suffered as he made his profits. From then, he takes moments and efforts from his own life to benefit the poor and unprivileged around him (whilst his friends prosper in their fantastic careers). He gives his college money to his younger brother, he doles out his honeymoon cash to ease the pinch when the 1929 bank crash comes, and remains in the penny-counting job that he hates knowing that he helps to enable many people to own the roof above their heads. However, these selfless acts eventually take their toll and, due to an unfortunate mix-up with several thousands of dollars which causes an imbalance in the books, George finds himself in a mess which he in no way created and is struggling to find a way out of. If he can’t find the money, he may be accused and imprisoned for embezzling funds. He is overcome with strife and despair as he doesn’t know what to do, or who to turn to, and he is so very afraid of what will happen to his family. When finally turning to the Divine Father for providence and ending up with a fist to the face for his efforts, he finally sinks into despair. It is in this anguish that the character comes to his devastating conclusion.

Although it has taken an extremely tragic turn, the story of George Bailey up to this point is already wonderful and inspiring. We live in a very self-obsessed age, where everyone is out for number one. We have all witnessed some dreadful acts by the few privileged in power who act to line their own pockets whilst those in real need are left to suffer. And, as many of us very much feel the austerity upon us, it seems very difficult to find the time and resources spare to help those around us. However, George Bailey (who is just a man) time and time again takes the moral courage to make the decisions which defend the less well-off in his community rather than enrich himself. The amazing effect of this movie on the audience is largely attributed to James Stewart’s amazing performance. One moment that literally breaks your heart is the aforementioned scene when George finally resorts to prayer – his hands tremble and the tears freely flow down his cheeks – surely this is a desperate man. However, the movie’s message really makes its impact when George’s Guardian Angel, Clarence, grants his wish of “never being born” and George witnesses the terrifying transformation of Bedford Falls. Now called Pottersville, it’s a ghastly and miserable place. Cheap and nasty, the high street is filled with seedy night clubs and brothels. Everyone is miserable and hostile, and many of George’s friends and families are subjected to despairing existences.

George Bailey then finally realises he has “A Wonderful Life”. In this terrible vision, he begins to see how far-reaching his acts of goodness and kindness are, to the point where his own being has improved the lives of so many people in the town. And that is something we must all learn too. Evil is always present in our lives, but all of us have the duty to try and keep it at bay. It really doesn’t take that much… George Bailey simply does the modest work of his trade with integrity and honesty, and working with those principles ensures he treats all of his fellow human beings with dignity. And remember, yes Clarence rescues George from the brink of despair and George accepts his possible fate of winding up in prison; but it is George’s friends and family who pull together to raise the funds to balance the books at the Building and Loan. They do this because they all love him and know he would do the same for them. In the words of Clarence:

“Remember no man is a failure who has friends.”

Remember, you can read Part 1 by clicking here.

First of all, there are many very good, highly enjoyable Christmas movies out there (and a ton of awful ones), and some of them I consider a must-see during the festive season: Elf, The Grinch, The Santa Clause etc. I always get incredibly excited when Christmas gets close and I love discussing what my favourite Christmas things are like songs and movies. I mentioned the 1946 movie “It’s a Wonderful Life”, one of my favourite films in general let alone a Christmas must-see, and one of my co-workers replied with a short story about how they had tried to watch it but “it wasn’t very Christmassy”. Yes, they just said that the greatest Christmas movie of all time wasn’t “very Christmassy”. Gob-smacked.

Well done Hollywood. You seem to have succeeded in convincing people that Christmas is your fake-ass, lame, materialistic and brattish holiday you depict in your movies. FUCK YOU! I mean, yes, so many of these films are great entertainment, but if we think about it; do they really portray the true meaning of Christmas? In my opinion, all Christmas movies in comparison to “It’s a Wonderful Life” look like the cold dead corpses of Father Christmas that have been rolled in glitter*. Most of the messages and morals are puddle deep like “Oh no, something’s wrong and Santa won’t be able to deliver any presents this year” or “Oh no, the perfect Christmas I planned has gone wrong and now I look a fool in front of my mother-in-law”. I mean many of them do promote family and all that but they all seem to be a vehicle in the promotion of a cheap commercial for materialistic Christmas. For example, in Elf, the biggest message I got from that is that Zooey Deschanel will sing in public if she really has to. I’m sure The Grinch had some important message about tolerance and acceptance, but I was too distracted by the guy who kissed a dog on the arse. The Santa Clause was full of adults who stopped believing in Santa because they didn’t get a certain present from the big man himself. MAYBE YOU DIDN’T DESERVE IT HMMMM!? I once saw Deck the Halls which was a vile experience through and through, down to when the fathers ended up cat-calling his own daughters. Don’t even get me started on Jack Gooding’s entries for Christmas movies this year.

In comparison “It’s a Wonderful Life” lacks all the materialism and consumerism but is instead a celebration of small town values such as honesty, integrity and kindness. I wouldn’t go so far as to call it “anti-capitalist” but it definitely denounces the unchecked pursuit for more money that leads to horrifically unequal distribution of wealth:

“Do you know how long it takes a working man to save $5,000? Just remember this, Mr. Potter, that this rabble you’re talking about… they do most of the working and paying and living and dying in this community. Well, is it too much to have them work and pay and live and die in a couple of decent rooms and a bath?”.

If you actually cast your minds to the Nativity, the main message is “Peace and Goodwill to all men on Earth” which is what the true spirit of Christmas is all about. The story of George Bailey embodies this message and spirit – he is a man who constantly puts himself last, takes up major responsibility upon himself even though they dash his dreams against the rocks, simply to protect those around him from the evil of an avarice old man. After his father’s death, he takes up the Building Loan company that was left which he despises but knows prevents the complete monopolisation of Bedford Falls by the greedy, grasping Potter. He ends up giving his University place to his brother, even though he has dreamed of becoming an architect since he was a young boy and ends up stuck in the dead-end of his little hometown. He makes a family with Mary who adores him and adores their home-town which he hates so. Even as war breaks out he watches as all of his peers become war heroes as he is stuck back home due to an injury he got in childhood when he saved his little brother’s life. Finally, his acts of selflessness simply become too much: on Christmas Eve money from the Building Loan is lost in an accident causing an imbalance in the books which, at the least, could land George in debtors’ prison. His shame and despair drives him to the decision to take his own life. However, George’s kind actions throughout his life have touched many of the town-people’s lives who all pray for him on that fateful night. Their prayers are heard and answered by the arrival of an apprentice angel who tries to convince George that suicide isn’t the answer to his troubles. He shows what Bedford Falls is like if he was never born: now called Potterville, a place of debauchery and misery with all his loved ones now twisted embittered versions of themselves. George ends up begging for his life to be returned to him and despite his dire situation, he welcomes back his life with pure joy and jubilation. To put it short: he is redeemed.

You may say that the idea of a guardian from heaven coming down to save you is a stupid message to give as it teaches the audience nothing but to rely on divine intervention during Christmas. Yeah, Clarence is the answer to the prayers but George’s family and the people of Bedford Falls answer their own prayers, pouring in their savings to prevent the Building and Loan from going under, and throughout his life George’s generous actions were probably often the answer to his friends’ prayers. That’s the point of Christmas – bad things happen to people, and as Christmas is supposed to be a joyous celebration, we should make an extra effort to help those down-trodden and unable to celebrate to share what we have so that everyone can be joyful. Such acts don’t only redeem those we help but redeem those who carry them out too and Christmas is a celebration of the hope of redemption, and that no one person is truly insignificant.

So, take your excess of presents, your competitiveness in who has the best decorations, and your movies that fill your mind with materialistic fluff. If you want a film to really bring the message of Christmas home, you know which to choose. It’s a good little reminder of the small sacrifices we can make in life for all of those around us.

Kicks your Christmas tree over on the way out.

*Except “A Muppet Christmas Carol” and “The Snowman”, those films are perfection.