One of my most anticipated experiences as a kid was the idea of someday going to Disneyland. Any child who knew about the unique theme park in its first decade of existence dreamed this dream. There was nothing like it at that time. In 1965 I finally got the chance and savored all the splendor, exploring Adventureland, Frontierland, Tomorrowland and the rest of a place that was truly magical. But even after that initiation, I had to go back for more, and continued to do so for many years.

So what does this have to do with A Christmas Carol? The Haunted Mansion, one of Disneyland Park’s most popular attractions, might seem hokey to contemporary high-tech snobs but the ghost effects were pretty cool in the day. I have to believe that Robert Zemeckis, director of Disney’s A Christmas Carol and other cutting edge visual effects films, also enjoyed the Haunted Mansion and its ghosts on more than one occasion. It seems he pays homage to the venerable Disneyland ride in Disney’s A Christmas Carol.

Before I describe a little about the experience—one has to see it as such—of this new film version of Charles Dickens’ Victorian-era classic, it is first important to point out that A Christmas Carol is one of literature’s most interpreted stories in television and cinema. From straightforward plots set in time and place to satires and character studies that touch on the timeless morality themes of the tale, there is A Christmas Carol for every taste. What is the best rendition of the story? Different people will find a certain version more memorable than others. Hopefully readers will respond with a holiday cornucopia of opinions to this blog.

There is quite a history of films to choose from. The first was a 1910 Edison Company short, A Christmas Carol. Other filmmakers took a shot at the story over the years, including MGM in 1938, using contract players such as Leo G. Carroll and Reginald Owen as Ebenezer Scrooge. These black and white versions capture the dreariness of the world Scrooge creates for himself but in the hands of talented directors of photography they also bring out the shining faces and places of Christmas joy. I rather like the idea of sitting around with the family on a snowy holiday watching old Christmas movies on TV.

Many people point to Alistair Sim, Scrooge in the 1951 British production A Christmas Carol, as the best performance of the man in a most faithful rendition of the novella. Two other British films, one made in 1935, one in 1970 and both named Scrooge, tell Dickens’ tale as well. In the 1970 production Alec Guinness is a frightening Jacob Marley but Albert Finney hams up Scrooge a bit too much—a sign of things to come in some more contemporary productions. A more convincing Scrooge is played by George C. Scott in the 1984 TV movie A Christmas Carol, also shot in England.

Ebenezer Scrooge is a juicy character that many actors have wanted to play and the story of redemption never dates. So it’s understandable that other well established Hollywood types have wanted to take on the project. Welcome to a world where characters play characters, sometimes in a play within a play. What? How about Mickey Mouse (as Bob Cratchit) in Disney’s first version of the classic? Mickey’s Christmas Carol (1983) with Donald Duck and others in Mickey’s group of animated friends voiced by their long-time real life companions was nominated for a best animated short Oscar.

Other television characters have taken on the story as well. Bugs Bunny’s Christmas Carol (1979) featured Mel Blanc as Bugs (the Ghost), Yosemite Sam (Scrooge), and Porky Pig (Cratchit). Two familiar animated characters played the role of Scrooge in community theater productions within their cartoon worlds. Mr. Magoo’s Christmas Carol (1962) features musical numbers and Jim Backus, as a redeemed Scrooge, sings about gold coins, “Give then away and nobody can rob you.” A Flintstone Christmas Carol (1994) reveals Fred, the Bedrock theater Scrooge, taking on the miser’s persona at home. In The Muppet Christmas Carol (1992) Michael Caine is a wonderful Scrooge surrounded by Miss Piggy, Kermit and the rest of the Muppet gang. It’s a favorite rendition of the story for many people.

And the films just keep coming. On the fringe is a recent internet production, A Clown Carol: The Marley Murder Mystery (2007). The unfinished work introduces a clown ensemble acting the traditional roles in a Dickens meets Cirque du Soleil affair. Apparently the producer turned into Scrooge and wouldn’t open his purse to finish the production.

In Disney’s A Christmas Carol it would be hard to find anyone who doesn’t believe Jim Carrey is a brilliant Scrooge. Unfortunately, despite the vocal, facial and body nuances of Carrey, Gary Oldman and others, the motion capture animation still lacks the heart of a performance for me. The 3-D experience offers the opportunity for all sorts of sight gags and flying about. But as with Disneyland rides, audiences are treated to a lot of motion, color and sound from mechanically animated characters who lack soul in their eyes. Disney’s A Christmas Carol is a film that’s sure to be a hit without hitting on all cylinders.

My personal favorite interpretation of A Christmas Carol is Scrooged (1988). Bill Murray plays TV executive Frank Cross, walking the tightrope between executing his own zany comic style and interpreting a classic character. The implications in the story about how the TV business is run are hilarious and biting. Bobcat Goldthwait, Karen Allen, John Forsythe, Robert Mitchum and David Johansen are part of a stellar cast. Like Dickens’ 1843 literary classic, this film can be enjoyed again and again. Happy Holidays!

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