At the Macy's Thanksgiving Day Parade, the actor playing Santa is discovered to be drunk by a whiskered old man. Doris Walker, the no nonsense special events director, persuades him to take his place. He proves to be a sensation and is quickly recruited to be the store Santa at the main store. While he is successful, Doris learns that he calls himself Kris Kringle and he claims to be the actual Santa Claus. Despite reassurances by his doctor that he is harmless, Doris still has misgivings, especially when she has cynically trained herself, and especially her daughter, Susan, to reject all notions of belief and fantasy. And yet, people, especially Susan, begin to notice there is something special about Kris and his determination to advance the true spirit of Christmas among the rampant commercialism around him and succeeding in improbable ways. When a raucous conflict with the store's cruelly incompetent therapist, Granville Sawyer, erupts, he finds himself held at Bellevue where, in ...Written by
Kenneth Chisholm (firstname.lastname@example.org)
The cast and crew were unanimous in their opinion of Edmund Gwenn: they loved him. Alvin Greenman who played Alfred called him "a dear, dear man", and Robert Hyatt, who played Tommy Mara, Jr., said in a 2001 interview, "He was a really nice guy, always happy, always smiling. He had this little twinkle in his eye." Added Maureen O'Hara: "...by the time we were halfway through the shoot, we all believed Edmund really was Santa Claus. I've never seen an actor more naturally suited for a role." See more »
Alfred's hands on the broom change positions between shots. See more »
Also available in two computer colorized versions. The film was first colorized in 1985 by Color Systems Technology, Inc. and again in 2006 by Legend Films using much-improved technology. Prints came with a disclaimer: "It has been altered without the participation of the principal director, screenwriter and other creators of the original film." See more »
God Rest Ye, Merry Gentlemen
Played when Shellhammer is telling Kringle the pretext to leave See more »
Sweet movie not without social comment
This is certainly a lovely warmhearted movie, but since other reviewers have described the plot in detail, I'll move on to other topics.
I love movies like this for the insight they provide into the customs of a lost era. Watch the clothing - everybody is so dressed up! - women in dresses, gloves, and hats, men in hats and suits. Notice that when O'Hara enters a room filled with Macy's executives, even though they are the bosses and she is lower management, they all stand up instantly.
The social satire, most on display in the courtroom scenes, also is very 1940s. Apparently audiences of that era took a kind of genial corruption in the judicial system in stride. Business leaders, like "Mr. Macy" were expected to be sharp and profit-oriented, but also decent people like the rest of us. It's a much more nuanced view than the "businessman as criminal villain" so common in today's movies.
The character played by Maureen O'Hara probably needs explanation for modern viewers. Late 1940s audiences knew that the social and economic situation of a divorced working woman with a child was much more precarious than it is now. Divorce was still somewhat shocking - this is brought out neatly in the movie when her would-be lover does a double take when he learns from her daughter about the divorce - he probably had assumed she was a war widow. Divorced moms were still rare in the middle classes. Society universally agreed that women should stay home to raise their children. Economically, women in management positions were still very rare, couldn't expect promotion, and were last hired, first fired. I think O'Hara's performance brings out these qualities in a way that the audience of the 1940s would have understood easily. The character's stiffness, fear of losing control, and anxiety about her job make a great deal of sense. It would have been nice to see a few scenes showing her loosening up, perhaps at dinner with her boyfriend; no doubt those got left on the cutting room floor.
I really like the scene where Santa talks to the little Dutch orphan. First, this scene also must have resonated with the audience; in 1947 the western European countries had only started to recover from World War II, and probably many Americans were familiar with the idea of adopting a war orphan, just as many sent CARE packages. Second, by making Santa fluent in Dutch, the writer cleverly left the viewer thinking that hey, he might really be Santa Claus (isn't Santa Claus fluent in all languages)?
Some reviewers don't like the acting and think that modern actors are "better". I think the older actors aren't better or worse, just different. The audiences of the 1940s expected a certain style of acting, and the directors and actors gave that to them. Then as now, Hollywood paid top dollar and got very talented people, but like all of us they were shaped by their own time and place, more particularly the requirement to make movies that audiences would like. Move Maureen O'Hara to 2004, or Tom Cruise to 1947, and you'd see them acting in the style of that decade.
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