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: Eric Till

Writer: Jerome Coopersmith, based on the novel by Charles Dickens

Cast: Henry Winkler, Dorian Harewood, David Wayne, Chris Wiggins, R.H. Thomson, Ken Pogue, Gerard Parkes, Susan Hogan, Chris Cragg

Notes: This TV movie from 1979 cast the then-34 Henry Winker, riding high on the success of Happy Days, as Scrooge substitute “Benedict Slade.” The film transplants the events of Dickens’s novel from Victorian London to Depression-Era New England, but keeps the most important beats of the timeless tale of a miser faced by ghosts to drive him towards redemption.

As usual, I don’t want to waste time rehashing a well-trod plot, but it’s worth pointing out how the film branches out at the beginning. The first real act of Scroogery comes on Christmas Eve when Slade and his Cratchit stand-in, Thatcher (R.H. Thompson) repossess the property of an African-American farming couple, the Reeves (Dorian Harewood and Arlene Duncan). They then pull the same stunt on the headmaster (Fraggle Rock’s Gerard Parkes) of the very school he once attended, and a university shop that makes the terrible mistake of selling books instead of something profitable. By the time Slade and Thatcher arrive home with a truck full of goods taken back from people who couldn’t pay, you start to feel that Slade may actually have Scrooge beat when it comes to being a jackass. When Thatcher tries to convince him to put money into reopening the town quarry, since Roosevelt has all these plans that will require slate, he thanks him by firing him. Just as Slade destroys a first edition of A Christmas Carol he took from the university shop (this bit, incidentally, made me hate the man as much as any movie villain I’ve ever seen), the visitations from the spirits begin…

Thoughts: From the beginning, Benedict Slade is a different kind of take on Ebenezer Scrooge. For one thing, the makeup job is awful. Winkler, who again was only 34 at the time, is layered under slabs of makeup that don’t serve to make him look old so much as they make him look like he’s late for a Halloween party. (There’s an unintentionally funny bit when he encounters the first ghost and accuses him of being under heavy makeup like “that man who played Frankenstein,” while Ken Pogue is playing a ghost and yet still looks more natural and lifelike than Winkler.) The film spends an inordinate amount of time with Christmas Past, I think, largely so that we can see Winkler’s face without the ridiculous makeup. He does make up for it, I should note, by sporting a bitching mustache.

Bad makeup aside, though, Winkler’s performance is actually pretty good. He’s got a nasty, bitter tone in his voice that fits in with all the Scrooges we’ve loved before, and you definitely get the impression right off that this is a man who keeps rage close to his heart. As we get his backstory, he comes across as a much more rounded Scrooge than many other incarnations – as a young man he seems earnest and sincere. His first steps down a bad path come not out of greed or spite, but because he is trying to look forward for the sake of his business while his mentor (Chris Wiggins) insists on miring himself in the past. Wiggins’s character owns a woodshop, making furniture by hand, and Slade leaves him for the sake of a company that is progressing in the direction of automation and mass production. By the time he does anything that could legitimately been seen as corrupt, he’s already gone quite far down the path of trying to do what he thinks is best for his business – and what’s more, history proved him right.

That goes a long way to selling his redemption – when he approaches Thatcher during the “Christmas Present” segment, asking forgiveness for not knowing that Thatcher’s son was sick when he fired him, you believe his contrite nature. The final scene with the Thatcher family, when Slade hands young Jonathan (Chris Cragg) one ticket after another to get him to the clinic in Australia that can cure whatever it is he’s suffering from, Winkler is nailing it. Even when Mrs. Thatcher hugs him, he pulls off a wonderful little beat where he gets anxious, not used to physical contact after all these years, that fits the character marvelously.

Writer Jerome Coopersmith picked a good time period to set the story – placing in during the Depression makes it easy to show the rich/poor gulf between his version of Scrooge and… well, everybody else. What’s more, it allows him to play a little on racial tensions in a way that Dickens never does. Although the film doesn’t make it explicit, it can’t be a coincidence that the first nasty thing Slade does is to a black family struggling to survive the Great Depression.

The film makes some interesting choices in regards to the ghosts. Rather than trying to make the ghosts creepy or ethereal, Slade is visited by spirits who take the form of the people he screwed earlier in the day. Christmas Past is the bookstore owner (David Wayne) whose copy of A Christmas Carol bit the dust, Christmas Present is Parkes, and Christmas Future is Harewood. I’m honestly not sure what the thought process is here – to give it a bit of Wizard of Oz flair? To make the interaction between Slade and the ghosts more personal, since he personally wounded each of them? Harewood in particular is odd, dressing him up in 70s-era clothes complete with a shirt open to his bellybutton and gold chains. While using “future” radio broadcasts to herald his arrival is an interesting touch, the clothes he wears would be enough to make any reasonable person fight against such a horrific future.

In the end, this is a pretty good iteration of the story. It recontextualizes Dickens in a different time and place in a way that fits the new setting, while still maintaining the spirit of the original. Although it keeps most of the skeleton of the story the same, there’s just enough of a change to the set dressing to make it feel like a different experience. It’s not my favorite version of A Christmas Carol, but it’s not a bad one at all.

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!