Christmas Holiday. The name sets forth images of festive shoppers, skirting past lavishly decorated store windows, Yuletide parties, both hip and homespun, trees, lights, carols and mistletoe. Given these impressions, a film by such a title might seem to be filled with music, laughter and/or a warm hearted message of hope and happiness. Anyone who has ever seen Christmas Holiday (1944), knows that assessment is dead wrong, dead being the operative word. In fact, the production from low key, low cost Universal Studios, is a dark and brooding film noir directed by Robert Siodmak, no stranger to the genre.
Based on a novel by W. Somerset Maugham, the story centers around the relationship between a handsome and seemingly affable young man (Gene Kelly) and the pretty young woman (Deanna Durbin) he meets and marries. But it soon becomes clear that the young man, Robert, is a gambling, psychopathic mama’s boy, who murders a bookie. His naïve and trusting wife, Jackie, continues to love and believe in him, even after she discovers his shady alter ego. With hints of incest and gossamer veiled prostitution (Jackie’s self inflicted punishment for not “helping” her screwed up husband enough), Christmas Holiday is a psychoanalyst dream, complete with a mysterious, possessive mother (Gale Sondergaard, who was born to play such a part).
Casting the leads was the real surprise for moviegoers who saw the film in 1944. Deanna Durbin was the reigning sweetheart at Universal since she signed on almost a decade before. Unknown Durbin had made a short film called “Every Sunday” in 1936 at MGM with then also unknown 14 year-old Judy Garland. It was a screen test of sorts for the two young hopefuls. Metro kept Judy and Deanna signed with Universal. It is said that the lively Durbin’s popularity saved the struggling studio from bankruptcy. Her films were light as a feather and always featured her lilting operatic voice. Christmas Holiday was chosen as her first dramatic role and it was reportedly her favorite.
Like Durbin, Gene Kelly was cast strongly against type. Getting his start in musical theater on Broadway, Kelly had only been in films a couple of years, mostly starring in musicals. The role of Robert Manette was a complete about face for him. An interesting turn though and one that showed a different facet to a growing film star. The novelty of an already intriguing film was the casting of such fluffy and pleasant musical celebrities as dark downers in an offbeat offering.
Contrary to what one might think, the musical lilting heard by Deanna (after all, this IS a Durbin picture), has nothing to do with Yuletide yearnings but instead love ditties by lyric powerhouses including "Spring WIll Be A Little Late This Year" written by Frank Loesser and “Always” by Irving Belin. No dancing though, Kelly saved plenty of that for his other 1944 photoplay, Cover Girl, also on loan-out.
Now I'm going to have to find a copy of this one. I've never so much as heard of it. As usual, well done, Rupert.
ReplyDeleteThere is an Amazon link for it at the top of this page.
ReplyDeleteI have never heard of this movie either, a new movie for my wish-list.
ReplyDeleteUniversal was a low cost studio, but the budgets were more lavish on the Durbin pictures, certainly after she become a big star.
ReplyDeleteI have never heard of this movie either. WOW, how did I miss this one? It looks like a great film.
ReplyDeleteI know I've posted this before on other Durbin sites, so apologies in advance for repoeating myself, but "Every Sunday" was not a screen test for Deanna and Judy. By the time it was filmed in late June/early July 1936, Deanna had already been released by MGM and signed by Universal.
ReplyDeleteI think both Durbin and Kelly give fine performances in this film, but I think Deanna's role is the more radical of the two. In essence, she plays three roles: the young woman Kelly meets and marries after a whirlwind courtship; the smart and conflicted young bride who's too nice to ask all the right questions when her husband's psychotic tendencies begin to manifest themselves, and the sullen, resolute "chanteuse" working in Gladys George's cathouse.
She's excellent in all three roles, but, despite the heay publicity campaign the film was given to warn the public that this would be a change-of-pace role for her, the public still must have been shocked at Deanna's appearance and the stark nature of the film and the performances.
Really good comeback post, Rupe. I've missed your reviews! I have never heard of this movie, so of course have never seen it, and I can't believe either one! It must not be shown often. I love the whole cast, and if sounds fascinating. I've got to find this one!
ReplyDeleteSpeaking of Gene Kelly in dramatic roles, he was spectacular as the H.L. Mencken-type reporter in Inherit the Wind. He really held his own with the two giants, Spencer Tracy and Fredric March.
Rupert, I thought LADY IN THE LAKE was the most noir-ish Christmas film I'd ever heard of until I read your great review of CHRISTMAS HOLIDAY. Gene Kelly and Deanna Durbin sure got an opportunity to stretch with this one! I'll keep an eye out for it.
ReplyDeleteThank you for this! My grandmother was best friends with Deanna Durbin in the 1940's. They lived across the street from each other (my grandmother was married to a high profile recording executive) and even though there was an age gap, they were great friends. I've often thought of writing Deanna and telling her. I don't think she answers fan mail anymore though.
ReplyDeleteThanks for this lovely article!
Lara (from Backlots--http://backlots.wordpress.com)