Christmas is likely my favorite
holiday. The opportunity to share our blessings with our friends and family,
and the needy, is a life-affirming experience — especially for those of us
living in the Northern latitudes with the accompanying short days and long,
dark, cold nights. Being a child of the 1960s and 70s, many of my Christmas memories are intertwined with the annual holiday TV specials and films from that era. Over the years, I have posted a number of articles and
uploaded various film and video clips of the holiday season. As with
Halloween (see An Aeolus 13 Umbra Halloween), all related articles and films have been compiled in one post.
All videos hosted on Aeolus
13 Umbra YouTube channels.
A Contemplative Christmas Soundbook: Full album recordings of George Winston’s
December (1982) and Anonymous 4’s On Yoolis Night: Medieval Carols &
Motets (1993).
Charlie Brown Down: The tragic passing of Peter
Robbins, who voiced Charlie Brown for the classic A Charlie Brown Christmas (1965), reminds us that Christmas is not
always happy times and good memories.
J.T.: An Urban Christmas Carol: This little-seen
1969 CBS holiday special takes a gritty look at the hard-scrabble life in New
York City ghettos, and a street cat stands in as the Christ-child.
The Star Wars Holiday Special: Many have heard
about it, few have seen it, and probably with good reason, but definitely worth
a look for hard-core Star Wars and 1970s fans.
Two Christmas Carols: The 1970 musical version
with Albert Finney (my favorite) and the Academy Award winning 1971 animated
film short with Alastair Sim revisiting his classic 1951 film performance.
The 1951 film version of A Christmas Carol, Scrooge starring Alastair Sim is a well-regarded classic and a
must-see for fans of Charles Dickens’ ghostly tale of terror and redemption,
counting myself foremost among that group. Including all the film, TV,
animated, radio, stage, and audiobook versions, the number of adaptations is
nearly countless. Among my favorites are the 1970 musical version with Albert
Finney, the 1971 animated version (also starring Alastair Sim), both of which
have been previously uploaded to the Aeolus 13 Umbra YouTube channel (to view
these films, see separate article, Two Christmas Carols). The complete 1951
film is provided above from a supporting Aeolus 13 Umbra YouTube channel.
There is little I can add to the
many reviews of this film. Younger viewers may tend to pass on it, but the
acting is truly impressive. Not only does Sim provide a convincing portrayal of
Scrooge from his 20s through old age, but also the transition from penny-pinching
miser to generous benefactor. Yet, what fleshes out the film are performances
by the supporting players. Patrick MacNee, he of John Steed Avengers fame, appears in a couple short
scenes as young Marley, using his Saturnine looks to effectively portray both
cunning and shrewdness with just a handful of lines. My favorite scene comes
towards the end of the film when Scrooge visits his nephew Fred’s home on Christmas
Day. Sim not only silently shows Scrooge’s insecurity and fear of not being
accepted, but the young maid (Theresa Derrington) silently shows her awareness
of Scrooge’s change of spirit and assures him it's OK, all with the exchange of
a few quick, wordless glances.
In all its many incarnations, the
lessons of A Christmas Carol remain
the same. First, who we are is as much the result of how we are
nurtured as children as it is due to the decisions we make as adults. Second,
there is little point to wealth unless it is shared with the most needy and
vulnerable among us. Rich or poor, we are all in this world together. We are
all the Christ-child in the manger — and we are all the Magi.
The Night Before Christmas is a 1968 animated Christmas special
based upon the poem, “A Visit from St. Nicholas,” later better known by the
first sentence of the poem, “Twas the Night before Christmas.” First published
anonymously in the Troy [NY] Sentinel,
December 23, 1823, the poem was later credited to Clement Clarke Moore (though
there is some disagreement on that point by literary scholars). Rather than
present an honest exploration of the author's life, which might have proved uncomfortable
since the anti-abolitionist Moore owned slaves, the film instead creates a fictional narrative wherein Prof.
Moore’s daughter is afflicted with illness and he writes the poem to comfort
her.
The show was produced by
Playhouse Pictures, which produced a number of animated commercials in
the 1950s and 1960s, including for Coppertone and Ford, and was directed by Jim
Pabian, whose long career in Hollywood animation stretched from 1933 to 1973. He also served as an artist for Dell Comics in the 1940s
and 1950s. The music is provided by Ken Darby and Norman Luboff with ensemble
pieces sung by The Norman Luboff Choir and various soloists filling in for the
characters’ singing voices.
Voice acting for the adult roles
is provided by veteran character actors whose names may be unknown, but their
faces quite familiar to Baby Boomers. Olan Soule, who plays Prof. Moore, has
over 266 roles to his credit, appearing in most of the popular TV shows of the period,
but may be most familiar by his recurring roles in such series as My Three Sons and Dragnet as well as the voice of Batman on The All-New Super Friends Hour and Challenge of the Superfriends. Hal Smith, Dr. Sawyer in the show,
is best known to TV viewers as Otis, the town drunk, on The Andy Griffith Show (where Soule also had a recurring role) and
racked up an astounding 303 roles from the mid-1950s to the mid-1990s. Mrs.
Moore is voiced by Barbara Eller, whose career spanned from 1952 through 1970,
and, like Soule and Smith, appeared in many of the highly-rated shows of the
era.
Olan Soule and Hal Smith.
I have some memories of watching The Night Before Christmas through about
the early 1970s. There’s a certain over-saturated saccharine sweetness about
it, and like the songs by Sammy Cahn and Jule Styne in The Night the
Animals Talked (see separate article) the music is “serviceable
but otherwise forgettable.” The most remembered segment from the program is the
retelling of the actual poem itself, which manages to hit every mass media
iconic Christmas image, including the Coca-Cola incarnation of Santa Claus, rather
than the Dutch Saint Nicholas version Moore had in mind. Unfortunately, in place of a dramatic reading, here the poem is
given a choral arrangement that has a sort of dreamy quality about it, but in
retrospect distracts from Moore's wonderful verses and phrasing.
The Night Before Christmas was released on VHS in 1990 by New Age
Video and on DVD by Warner Video in 2013. The show hasn’t aged well and can be
more kindly regarded as a relic of its era rather than an annual “must-see” for
Christmas special aficionados; nevertheless, it remains fondly remembered by a
small group of Baby Boomers. Regardless of the relative artistic merit of an
individual production, Boomers revisiting these old programs are brought back
to their childhoods, when our parents were still with us, our families
together, and the promise of Christmas Day almost too exciting to contain. That
in itself is a kind of Christmas magic that cannot be wrapped up, but only
experienced.
The Night the Animals Talked is a 1970 animated musical special
that aired on ABC TV from 1970 to 1973. Based on a Norwegian folk tale, the
premise involves the stable in Bethlehem where Christ was born. The light
of the star that leads the Magi to the Christ-child shines upon the animals and
gives them the gift of human speech. However, in gaining the ability to talk
like humans, they also begin to show very human foibles, such as racism, segregation,
pride, and vanity, among other sins. As the animals begin to act more like
human, the story takes on a certain Animal
Farmesque quality. The film is available above from the
Aeolus 13 Umbra YouTube channel.
The music by the famed duo of lyricist
Sammy Cahn and composer Jule Styne includes the songs "A Parable,"
"It's Great to Communicate," "The Greatest Miracle of All,"
"Let's Not Behave Like People," and "A Place Like This” is
typical of other children’s specials of the era such as the Rankin/Bass Productions
classics like Rudolph the Red-Nosed
Reindeer and The Little Drummer Boy.
As notable as Cahn and Styne are, the songs are serviceable but otherwise
forgettable.
The Ox
reminds the animals that although they may talk like humans,
they do not need to act like them.
The Italian animation companies
Gamma Film and Erredia 70 provided the artistic talent and technical direction and
supervision. There are no “big names” providing the voice talent, but
nonetheless includes a number of little-known, but accomplished voice and character
actors including Frank Poretta, Joe Silver, Patricia Bright, Len Maxwell, and
Paul Dooley, the latter of whom remains active as of this writing.
Executive Producer David Gerber
had a long career in Hollywood from the 1960s through the mid-2000s and served
in that role in many of the era’s iconic shows, including The Ghost and Mrs. Muir, Nanny
and the Professor, Police Woman, Police Story, and many more. Director Shamus
Culhane is a legendary Hollywood animator whose career ran from 1924 to 1980
and includes work on such films as Walt Disney’s Snow White and the Seven Dwarfs (1937) and Pinocchio (1940), Dave Fleischer’s Gulliver’s Travels (1939), as well as Popeye, Bugs Bunny and Woody
Woodpecker shorts and helming Marvel’s animated Thor TV series (1966).
ABC
TV promotional spot.
Humans aren’t prominently
featured in the film. Joseph and Mary are only seen as shadows or distant figures, and
the Christ-child is not seen at all — the story is told entirely from the
animals’ perspective. This puts the viewer in the animals' seat and gives us an
outsider’s view of ourselves and a society filled with division and hate.
At first, the animals are
reluctant to allow Joseph and Mary to share their space. If their human owner
won’t show them any charity, why should they? And if they do let just a few in,
soon more will show up and crowd them out! The Ox, however, serves as the voice
of conscious and laments how the gift of human speech has turned them all too
human and chides his stable mates, “We have enough room, if we want to make
room.”
The real emotional hook to the
story comes with the birth of the Christ-child and the animals realize that in
Christ we are all equally loved — a realization that comes too late for them to
share before their gift of human speech begins to fade away. My mother, who
grew up on a farm in Sicily, loved the film as much as I did and we were always
saddened at this point. In the end, however, although the animals lose the gift
of speech they retain a greater understanding and tolerance of each other.
The late 1960s and early 1970s
was a time of great racial strife in America and this special is a fine example
of showing how the message of Christmas has a universal and timeless appeal. Unfortunately,
given the racial strife that persists in America and other parts of the world,
the message of The Night the Animals Talked
remains relevant today.
Putting
aside their differences, the animals join together to see the Christ-child,
brought into this world in the most humble of
places.
Along with the gritty 1969
Christmas special, J.T.(see separate article), which features an animal
as a pivotal plot device and also only aired for a few years before disappearing
from the broadcast airwaves, these programs never quite became as enshrined as
Christmas classics like the various entries by Rankin/Bass Productions. Both
programs were also later distributed to schools in the early-mid 1970s. The
online independent film guide FilmThreat
reports that McGraw-Hill distributed copies of The Night the Animals Talked to schools in 1975 (J.T. also saw some distribution to
public schools about the same time). The copy shown above is likely from one of
the McGraw-Hill 16-mm prints. For reasons unknown, there has been no DVD
release of the special, so the quality is not the best.
Nevertheless, both films teach
the same lesson — our love for the most vulnerable among us, animal or child,
is what makes the world a better place. May it always ever be that way.
Africa,
Music from the Nonesuch Explorer Series is a sampler from the aforementioned Nonesuch
Explorer Series, released on CD September 24, 2002. This album provides a
selection from each of the thirteen Explorer Series albums from Africa.
Nonesuch’s Explorer Series is one of the most comprehensive catalogs of World
Music with albums representing the regions of not just Africa, but also Central
Asia, East Asia, India, Europe, Indonesia/South Pacific, Latin
America/Caribbean, and Tibet/Kashmir. The album is available on the Aeolus 13 Umbra YouTube channel.
From the late 1960s through the late
1970s, Nonesuch producers for the African albums recorded the pieces in the field,
on street corners, in universities, marketplaces, cities, rural villages, along
the coast, and in the deep interior. These albums provide the Western ear with
a broad exposure to the wide variety of indigenous instruments and musical styles
which, in many ways, still remain relatively unknown outside the Dark Continent
except to those of us who appreciate the vast palate of World Music offerings. These
collections became widely influential to a whole generation of Western musicians.
In fact, some tracks from the Nonesuch Explorer Series were included with the
Voyager Golden Record that was attached to the Voyager I spacecraft launched in 1977.
While samplers and “best of”
collections are typically a mélange of sometimes aesthetically discordant tracks
lacking a unifying thematic cohesiveness, Africa,
Music from the Nonesuch Explorer Series manages to avoid this pitfall by
focusing on primarily sub-Sharan Africa and those nations North of South Africa.
From these regions come the rhythms and sounds that influenced whole genres of
Western music including Jazz and Rock and Roll.
Evening Ragas from Benares is a 1981 Academy Sound & Vision
recording which was later released in 1986 and 1994 by the Musical Heritage Society.
Originally recorded in December 1967 in Benares, India by Deben Bhattacharya, the 40-minute recording is comprised of three pieces. Click on the links
below for individual tracks or on the video above for the complete album on the Aeolus 13 Umbra YouTube channel:
Selections from the liner
notes to Evening Ragas from Benares:
Sitar
The sitar (right) is undoubtedly the most
popular stringed instrument of north and central India for raga music today. It
is the direct descendant of the vina, the stringed instrument of India played
for 2,000 years. The present form of the sitar is attributed to 13-century
musician and innovator, Amir Khusru, and is less complicated to play than the
vina. Most sitars have seven playing strings together with a number of
sympathetic strings which resonate to enrich the sound. On its long neck are
movable metal frets fastened by silk or gut strings. Hollow gourds are attached
to the back of the neck, usually at each end, to increase the volume of the sound.
The strings of the sitar are plucked using a wire plectrum fitted to the right
index finger.
Surbahar
The surbahar (left) resembles the sitar
in appearance but is larger in size and scope. It is nearer to the vina in its
quality of sound and is regarded as superior to the sitar as an instrument. The
vicitra vina belongs to the vina family of stick zithers and has five melody
strings, three built-in drone strings, and 11 sympathetic strings. Unlike the sitar,
the vicitra vina is fretless, but the skill and expertise of the musician enable
him to unerringly find the exact note in its long neck.
Vicitra Vina (top), Tambura (bottom)
The accompaniment on the
recording is provided by the tambura (above), a four-stringed drone instrument, and the
tabla (below), a pair of drums which make the tala or rhythm which is an essential part
of Raga music. The table is played by both hands — the right hand drum gives
the strong beats and the left hand drum the soft strokes.
Tabla
The raga Puriya Kalyan is associated with the early hours of the evening and
is heptatonic or in the seven-note scale. The rhythmic accompaniment, or
tritala, is in 4/4 time. This raga, also known as Purva Kalyani, is of a feminine nature and expresses tenderness and
love.
Pilu, a raga of the late afternoon, is in the seven-note scale and
expresses a bashfulness and timid love. The severe and courtly midnight raga Darbari is again in the heptatonic scale.
Both Pilu and Darbari were recorded during a gathering at a private house and the
sounds of passing travelers and the cries of a vegetable salesman in the street
outside combine to bring the atmosphere of India to the listener.
