Memorable Monday Morning Movie Review: A Very Portly Christmas: A Christmas Carol (1951)

Back in 2022 a couple of my regular contributors and I each took turns reviewing the 1951 film adaptation of Charles Dickens’s A Christmas Carol (for links to all three reviews, click here).  The film has since became almost annual viewing for yours portly, a tradition I hope to continue with Dr. Wife.

With all the busyness of the wedding and last week’s school play (as well as this week’s school concert), I decided to take this morning to look back at my review from three years ago.

The film is a poignant reminder to keep the joy of Christmas alive in our hearts, something that is often difficult as the trials of adulthood responsibility exact their toll.  But Christmas is the time of year to celebrate the Birth of Jesus, and to recapture—to the extent possible—the simple magic of childhood.

With that, here is 19 December 2022’s “Monday Morning Movie Review: A Very Portly Christmas: A Christmas Carol (1951)“:

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Memorable Monday Morning Movie Review: A Very Portly Christmas: A Christmas Carol (1951)

Yours portly has had another busy weekend, one full of Christmas cheer.  It was very nice to spend time with family and Dr. Girlfriend.  Naturally, the blog and the Advent Calendar have fallen by the wayside a bit, but I’ll be getting caught up with both.  It’s Exam Week this week, so I have the most free time I’ve had since summer break, so my hope is to work ahead on the blog enough that I don’t need to touch it much until 2025.

Last night Dr. Girlfriend I started watching the 1984 film adaptation of A Christmas Carol starring George C. Scott as Ebenezer Scrooge.  We didn’t get to finish, but it’s remarkable to me how well done this version is.  It brought to mind the 1951 version, which is an exquisite adaptation in its own right; indeed, it might be the definitive version.

So it is that I thought I’d cast a glance back to my own review of that version from 19 December 2022.

With that, here is “Monday Morning Movie Review: A Very Portly Christmas: A Christmas Carol (1951)“:

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Lazy Sunday CLXXVII: Review of A Christmas Carol (1951)

“You there!  Yes, you, boy, reading this post in your underwear before a long day of festivities.  What day is it?”

“Why, it’s Christmas Day, sir!”

“Here—take this blog post and go buy the biggest goose in town.”

“But it doesn’t work like th—”

“Never mind—-it’s Christmas!”

And—scene.

Yes, it’s Christmas, probably the one day a year no one is reading any blog posts.  But The Portly Politico marches on, Christmas or no.

To celebrate, I thought I’d look back at the three recent reviews from Ponty, Audre Myers, and myself about A Christmas Carol (1951).  They’re pretty good:

Well, time to get dressed—it’s Christmas Day!

Merry Christmas!

—TPP

Other Lazy Sunday Installments:

Monday Morning Movie Review: A Very Portly Christmas: A Christmas Carol (1951)

Now it’s yours portly’s turn to step up to the plate and take a swing at review a timeless Christmas classic, the 1951 adaptation of A Christmas CarolPonty did the film a great service, and I must confess I read his review before viewing the film, which somehow—shamefully!—had slipped through my viewing until this point in my life.

Such is the peril of editing guest contributions:  I have to read them in order to write a pithy introduction and to get them scheduled.  As such, I’ve read Ponty’s review, which has already been published, and Audre‘s review, which will pop this Wednesday, 21 December 2022.  I’ve tried my best to stick to my own thoughts on the film, but Ponty’s review in particular really enhanced my viewing of the film.  He doesn’t spoil anything, but his analysis of some of the scenes is quite insightful.

A Christmas Carol has been on my mind a good bit lately.  Over Thanksgiving I reconnected with a college classmate from a Fiction Workshop class I took my senior year, herself a self-published author.  She has been brainstorming ideas with me about an alternate telling of A Christmas Carol involving Scrooge and restorative, romantic relationship—a God-centered romance that turns the acquisitive, miserly Scrooge into the generous, giddy soul we see at the end of the film.  I won’t reveal more, but it’s a fun project, and in line with her approach to writing.

All digressions aside, I must echo the sentiments of my contributors:  the 1951 version starring Alistair Sim as the sinister Scrooge is one of the most arresting bits of storytelling I’ve ever seen set to film.

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