Scrooge (1951)

A Christmas Carol is on a list with The Three Musketeers and Shakespeare as the most frequently adapted literary tale. Charles Dickens' story of holiday redemption has seen versions silent, musical, television, animated, comedy, Muppet and everything in between. I have fond childhood memories of A Muppet Christmas Carol and a 1984 George C. Scott version, as well as a live performance at Ford's Theatre in D.C. Less fondly remembered are the banal Patrick Stewart starrer and the Godawful Bill Murray vehicle Scrooged. (And who can forget Blackadder's take on the story?) A simple tale with a powerful message, it's perfect cinematic material.

The above have their fans (that's not even mentioning Albert Finney's musical Scrooge), but 1951's Scrooge remains the best-loved version. Relatively simple and effective, it achieves the right mixture of holiday whimsy and Victorian gloom. Of course, it wouldn't be anything without the great Alistair Sim.

Is there a sentient being who needs a plot summary? Ebeneezer Scrooge (Alistair Sim) is a hopelessly greedy, miserly businessman until he's visited by three ghosts who convince him to change his ways. If you don't know this story, welcome out from under your rock.

Scrooge succeeds through simplicity. It remains close to the source material, with gloom and remorse leading to joyous revelation, its additions generally positive ones. Brian Desmond Hurst's simple use of double exposures during ghost sequences is more effective than the flashy effects of recent takes. The familiar cast registers strongly, with a not-very-cutesy Tiny Tim (Glyn Dearman), a believably obsequious Bob Crachit (Mervyn Johns) and wonderfully rustic Cockney bit players. A lack of songs certainly helps too (no offense to Jim Henson).

Scrooge fleshes out Dickens' themes of avarice and class oppression more than other versions. The film adds an interesting subplot to the story, where Scrooge is "corrupted" by rapacious businessman Mr. Jorkin (Jack Warner). A later scene has Scrooge and Marley entrap Jorkin into signing over his business. Beyond being a simple greedy old man, this film's Scrooge is more well-rounded and believable in his seduction by profit. Along with its grim depictions of lower-class life, it packs a stronger kick than other Christmas Carols.

Alistair Sim really makes the film. His elastic face and ghoulish voice make him ideal casting, and Sim invests the character with perfect humanity, warmth and humor. It's an easy character to caricature, but Sim hits the right dramatic notes and makes the character his own. Scrooge's hilarious reactions to his transformation may have been ad-libbed, and certainly work better than usual. Scrooge has been played by many great actors (Albert Finney, Michael Caine, George C. Scott, Patrick Stewart) but none have left such an indelible mark on the character.

The supporting cast includes some interesting faces. Michael Hordern (Royal Flash) chews lots of scenery as Marley; Jack Warner (The Ladykillers) appears as one of Scrooge's business partners; Patrick Macnee (TV's The Avengers) is a younger Marley; Peter Bull (Dr. Strangelove) narrates and has a small onscreen bit.

Scrooge is certainly in the upper-tier of Christmas Carol adaptations. I remember liking the George C. Scott version more, but in lieu of tracking that one down Alistair Sim works just fine.