The miser Scrooge passes down a London street the morning before Christmas, on his way to his counting house. So much is he detested that no one speaks to him until a beggar approaches, ... See full summary »

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The miser Scrooge passes down a London street the morning before Christmas, on his way to his counting house. So much is he detested that no one speaks to him until a beggar approaches, asks for alms, and is angrily stricken to the ground. A spirit appears and tells the miser that the beggar will again appear that night. Scrooge approaches his counting house, and as he is entering, the beggar again appears before him. He places his hands before his eyes to shut out the apparition, and when he looks again the figure has vanished. The interior of the counting house where Bob Cratchett, the clerk, and Fred, the nephew of Scrooge, are attending to their duties. Fred announces that he has just been married. His bride, together with the crippled boy, Tiny Tim, enter the office. Looking out the window, they discover the approach of Scrooge, and at the advice of Fred the ladies conceal themselves. Scrooge enters and is told of Fred's marriage. He kisses the bride, but immediately regretting ... Written by Moving Picture World synopsis

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9 December 1908 (USA)  »

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Cuento de Navidad  »

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1.33 : 1
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Connections

Version of An American Carol (2008) See more »

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Correction of earlier comment
23 December 2007 | by (United States) – See all my reviews

The history of "A Christmas Carol" and of the movies that have been made of it and adapted from it is fascinating, but it did not begin with Charles Dickens ever seeing a tombstone with the name "Scrooge" on it. Dickens was touring children's work houses and slums in preparation for writing a series of articles on poverty and social abuses of the poor in England when the idea for the story hit upon him. Not as colorful as story as the tombstone, but it shows that Dickens's main purpose to begin with was not just to write about the redemption of an unlovable man but to make a larger comment on the materialism and social injustices of his time.

As for the moves, I personally think the 1938 and 1951 versions are by far the best, not only because they share Dickens's social conscience, but because the characters and caricatures replicate Dickens's writing so well, and visually they look like the original illustrations. They really knew how to do Dickens in those days!


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