Category Archives: Drama
Scrooge Revisited Day 4-Susan Lucci in Ebbie (1995)
Note: If you’re new to Reel to Reel, I’m more about dissecting and commenting on film than writing a straightforward review. As such, please be warned, the following is full of spoilers.
Director: George Kaczender
Writers: Paul Redford & Ed Redlich, based on the novel by Charles Dickens
Cast: Susan Lucci, Wendy Crewson, Ron Lea, Molly Parker, Lorena Gale, Jennifer Clement, Nicole Parker, Susan Hogan, Kevin McNulty, Taran Noah Smith, Jeffrey DeMunn, Bill Croft, Laura Harris
Notes: Are there any words in the realm of cinema more exciting than “Lifetime Original Movie”? That’s what we have today, my friends – soap opera legend Susan Lucci as Elizabeth Scrooge in this gender-reversed TV production. Lucci’s Scrooge is the manager of a department store rather than a moneylender, but she still has her Roberta Cratchet (Wendy Crewson), niece Francine (Molly Parker) and a gaggle of ghosts. The Tiny Tim role is filled by Taran Noah Smith, at the time part of the cast of the hit comedy Home Improvement, while Jake Marley’s ghost is appropriately played by future Walking Dead star Jeffrey DeMunn. In an odd case, Susan Hogan – who played the equivalent of Mrs. Fezziwig in An American Christmas Carol, essentially fills the same role here. The movie can occasionally be found on DVD under the title Miracle at Christmas: Ebbie’s Story, with hot property Smith cuddled up to Lucci on the cover, despite having little more than a cameo appearance.
Thoughts: I’ve seen a lot of different version of A Christmas Carol, but this one stands out as being, perhaps, the least exciting. The film is updated to the 90s and set in America, although despite that the writers tried to tweak lines from the original Dickens in terribly awkward ways, like the old “are there no orphanages? Are there no workhouses?” speech. For a version so far away from the original in its setting, it’s weird that they would try to cling to such details, and that adherence to Dickens is actually this movie’s death-knell.
Like An American Christmas Carol, Ebbie’s ghosts play double-duty. This time, they’re all employees of the department store that she shafted in one way or another (disrespect, a crappy Christmas bonus, or a yuletide firing, respectively). I’m starting to think it was less an artistic choice and more a way to cut down on the number of actors they had to pay. This film is Dickens on a budget.
The made-for-TV credentials are evident from the first ghost. DeMunn’s Marley makes his appearance first by popping into the TV shows Ebbie is watching, then shows up in a glowing blue form complete with a giant 90s cellphone he stole from Zack Morris. We race through his point and get to the ghosts of Christmas Past – Jennifer Clement and Nicole Parker, who we saw earlier in the movie as perfume girls in the department store, looking like rejects from Hairspray. It doesn’t help that they actually use hairspray to zip back in time and view Ebbie’s past, where we literally hear her father tell her mother “I never wanted you.” If they want us to feel sorry for Ebbie, it comes across as too heavy-handed (especially with the clownish pair of ghosts) for the emotion to truly land. It gets even sillier when we see her very pregnant sister (Parker again) taking to her “little sister,” played by Lucci, looking a good 20 years older. Christmas Past is interminably long, sloughing through Ebbie’s destruction of her relationship with her boyfriend, the takeover of the department store with Marley, and Marley’s Christmas Eve death. Again, it’s hitting all the beats, but not doing so in any clever or creative way. If you’re not going to change up the formula at this point, you damn well need to execute it very well, and this movie just has all the tropes of a Lifetime movie with none of the charm of the better Christmas Carol adaptations.
Lucci is doing her soap opera best here, which is to say that she’s heavy on the melodrama, but light on real emotion. I can’t say it’s entirely her fault, of course – she’s doing exactly what you expect out of Susan Lucci, and doing it as well as can be expected. The rest of the film piles on the melodrama so thickly that it scarcely matters. By the time we reach the forced treacle of Tim singing “Angels We Have Heard on High,” you’re certain the film has been running for all twelve days of Christmas, even though it’s only been a little over an hour. Perhaps the most interesting (or maybe just the least boring) segment is Christmas Yet to Come, where Ebbie is forced to witness herself getting struck by a car, rather than succumbing to old age or whatever it is that usually takes out Scrooges.
This is perhaps one of the dullest Christmas Carol adaptations I’ve seen. Lucci is so flat that you don’t feel any transformation at all, and her climactic announcement that she’ll “honor Christmas” feels entirely by rote, without any passion to it. If you’re a Lucci fanatic, you may want to watch this. For the rest of us, there are much better versions to choose from.
The first Reel to Reel study, Mutants, Monsters and Madmen, is now available as a $2.99 eBook in the Amazon Kindle store and Smashwords.com bookstore. And you can find links to all of my novels, collections, and short stories, in their assorted print, eBook and audio forms, at the Now Available page!
Robin Hood Week Day 3: Sean Connery in Robin and Marian (1976)
Director: Richard Lester
Writer: James Goldman
Cast: Sean Connery, Audrey Hepburn, Robert Shaw, Richard Harris, Nicol Williamson, Denholm Elliott, Kenneth Haigh, Ronnie Barker, Ian Holm, Veronica Quilligan, John Barrett, Esmond Knight
Plot: The aging Robin Hood (Sean Connery) has become one of King Richard’s (Richard Harris) most stalwart captains, leading Richard’s men to war in France. Robin and Little John (Nicol Williamson) lay siege to a castle, seeking a rumored treasure, but find only a single one-eyed man (Esmond Knight) guarding a few poor citizens. Richard orders Robin to storm the castle for the treasure, but Robin refuses and is arrested. The one-eyed man throws an arrow at Richard, wounding him in the neck. Richard has the castle destroyed. Dying from his wound, he summons Robin. He tries to draw his sword and slay Robin, but lacks the strength and collapses. As Robin rushes to his side, Richard pardons him before dying.
Robin and John return to England, where they’re assaulted by two old men. As they fight, they recognize Will Scarlet (Denholm Elliott) and Friar Tuck (Ronnie Barker). The friends reconnect, learning that Robin’s old adventures have become exaggerated and turned into legend, and now-King John (Ian Holm) has gone mad with power, with the people of England and even the Church turning against him. They take Robin to an Abbey where they find Marian (Audrey Hepburn), now a nun. As the Sheriff of Nottingham (Robert Shaw) arrives to arrest her for refusing the King’s order for all clergy to leave England, Robin “rescues” Marian against her will, and the Sheriff orders Robin’s arrest. In the forest, Marian abashes Robin for his part in the Crusades, and Robin confesses to the horrors he saw in war. When they return to the Abbey, they find the Sheriff has arrested all of the nuns but one.
Robin and John disguise themselves as peddlers and free the nuns, but are almost captured in the escape attempt, with Marian, Will and Tuck arriving to rescue the rescuers. Marian confesses to attempting suicide when Robin left, and the two almost kiss before Will signals them that a Sheriff’s posse approaches. After driving them off, Robin tells Marian all he wants now is a life with her in Sherwood. That night, as they relax in the woods, townspeople who saw them rescue the nuns arrive in the forest, wanting to join him to fight against King John.
King John sends out a force of 200 men to drive Robin from the forest. As they amass, Robin and his men watch, knowing they are hopelessly outnumbered. Marian tries to plead with him not to fight, but Robin insists he’s still the warrior he was in his youth. She swears to leave rather than watch him get slaughtered, and goes instead to Little John, hoping he can convince Robin not to fight. Although John agrees it is suicide, he refuses to speak against Robin, and vows to ride into battle with him.
Robin approaches the Sheriff with a proposal – a duel between the two of them. If Robin wins, the soldiers retreat; if the Sheriff wins, Robin’s men surrender. The Sheriff agrees. Both men are grievously wounded, with Robin taking a horrible slash to the side before finally killing the Sheriff. As he dies, the King’s men charge, and Little John slays their captain. John and Marian help Robin from the battlefield to the Abbey for treatment, while his men are scattered into the woods, with many captured or slain.
Lying in the Abbey, Marian gives Robin medicine and speaks of how – once well – he’ll lead his men into battle once again. When his limbs begin to go numb, he realizes Marian has poisoned him. When he asks her why, she processes her love for him – a love so deep that she cannot allow him to go on, knowing he would never be the warrior he was again. What’s more, she has taken the poison as well. Robin agrees that it’s better this way, and asks John for his bow. He fires an arrow into the air and asks they be buried together where it falls.
Thoughts: A few years before diluting Richard Donner’s Superman universe with a recut and reshot Superman II, Richard Lester put no less than James Bond and one of history’s most beautiful women in this odd rendition of the Robin Hood saga. From the beginning it’s clear this isn’t the Robin Hood most people are familiar with. This is a Robin who fought in the Crusades with Richard, something most movies don’t include. What’s more, this is a Richard who may have the name “Lionhearted,” but carries none of the patience or understanding one would expect from one of noble rank. Robin calls him a “bastard” in the opening scene, and as he’s presently ordering him to murder women and children over a non-existent treasure, it’s hard to disagree with that assessment.
Unlike the bold adventure most Robin Hood films become, Richard Lester’s version take a weird sort of anti-war stance, with Robin giving a monologue about watching King Richard order the slaughter of innocent Muslims after his single great victory of the Crusades. This isn’t the bold Robin Hood we’re used to, but a worn-down, tired man whose glory days are behind him… and what’s worse, he finds himself questioning if they were ever truly glorious to begin with.
Sean Connery is… well, he’s Sean Connery. Let’s be honest here, he’s always Sean Connery, whether he’s Sean Connery as a young Irishman, a dashing British secret agent, a Russian submarine commander or a whatever the crap he was supposed to be in Zardoz, he’s still Sean Connery. The miracle of that is that he almost always gets a role where “somebody like Sean Connery” is exactly what the movie calls for. Mid-70s Sean Connery is perfectly cast as the aging Robin Hood – still strong and undeniably charismatic, but at the same time, he’s beginning to get a little world-weary. Oh, he’ll still fight, and he’ll still kick your butt, but that doesn’t mean he isn’t getting a little bit tired of it. While Connery’s Robin is still willing to take up arms whenever necessary, it’s clear the only thing he really wants is to reclaim the love of Marian and settle down to a life he wishes he hadn’t sacrificed 20 years earlier.
Audrey Hepburn was 47 when this movie came out, and the line when she asks Robin if she’s “old and ugly” is still laughable. The woman had a grace and a poise her entire life that the greatest movie stars of all time couldn’t touch and the best of today can only dream about. Like Connery, she does a fine job of painting a woman who has grown tired with the world. She lost her dreams a long time ago, but she’s not so far gone that she can’t be convinced to take them up again. She vacillates between her heart and her vows several times, and always in an entirely convincing manner.
In this film, the villains are almost nonentities. The Sheriff and King John are the root of Robin’s problem, but he faces them almost as a matter of course, the way you face a force of nature. This could be the story of a stubborn old man intent on battling a hurricane or an earthquake for all the influence they have on the story. That’s nothing against Robert Shaw or Ian Holm, mind you, their performances are perfectly fine, but they aren’t given that much to do. Even Richard Harris as King Richard comes across as more of a personal obstacle for Robin than the ostensible villains of the piece. In truth, the real antagonist for Connery’s Robin Hood is age itself, the certainty of mortality and the inevitable approach of death.
It’s a cheerful movie, is what I’m saying.
I take that back, there is one bit that’s kind of funny… the duel between Robin and the Sheriff. If the goal of the scene was to thrill the audience, they failed, with the camera often set so far back it’s nigh impossible to tell who is who. If the goal is to depict a semi-realistic fight with very heavy broadswords and axes that look like a chore to swing around… well, Richard Lester, you succeeded, but in so doing you crafted one of the most mundane fight scenes in Sean Connery’s long and storied career. Even the sword fight in Franco Zeffirelli’s Romeo and Juliet had more excitement than this one, and that’s not intended as a compliment.
The final scene of the film is really a grand one. The revelation that Marian deliberately poisons him is baffling, but instantly understandable when she makes her declaration of love. It’s a moving scene and both Connery and Hepburn nail it. The movie isn’t a masterpiece, but the finale makes it worthwhile. It’s not a standard version of Robin Hood at all, but it’s an impressive one, and one that serves as a bittersweet conclusion to the legend.
The first Reel to Reel study, Mutants, Monsters and Madmen, is now available as a $2.99 eBook in the Amazon Kindle store and Smashwords.com bookstore. And you can find links to all of my novels, collections, and short stories, in their assorted print, eBook and audio forms, at the Now Available page!
Reel to Reel 