“interesting” is the nicest one-word description I can give to the new A Christmas Carol presented in its entirety on FX in the U.S. last night. It’s how I would picture A Christmas Carol taking place in a dystopian alternate reality. My original intention was to not write much about this or offer a full synopsis so there would be no spoilers for anyone that hasn’t seen the new ACC. However, I’ve noticed there is a lot material already available that discloses details. I will not be including a full synopsis, but there will be spoilers!
An important distinction to keep in mind is this is not a new interpretation of the traditional A Christmas Carol. This is an adaptation that takes liberties.
One of many things that makes this reworking stand out is that it is wrapped in a traditional setting; most other full adaptations are not. When I think of an ACC adaptation, it usually tries to be distinct by taking place in a different time or place, changing genders, and so on. Despite the original ideas, this fails on all counts. It has thrown out any intent from the source material’s forgiveness theme and it doesn’t understand redemption. There is no joy and it borders on vulgarity at times (F-bombs and urinating on graves). It is filled with contemporary social justice awareness but offers little-to-no hope.
Ebenezer Scrooge (Guy Pearce) is not the “mere” money-lender that takes advantage of the economic hardships of those that come to him. He is now the owner of workhouses, factories, and dangerous mines. He treats the lives connected to his businesses as cheap, expendable, and inconsequential despite the pure misery and death attached to his business dealings. This was done in partnership with he dead partner, Jacob Marley (Stephen Graham).
Scrooge goes beyond his general misanthropic nastiness. He’s calculating in proving to himself his assuredness of what he believes is his intellectually superior understanding of the true bestial nature of people. Despite his malevolent behavior and dislike for others, people do not seem to fear him, including Bob Cratchit (Joe Alwyn). People of London and other locations do not think twice giving him a descriptive, rude retort in disgust. Scrooge simply ignores them.
This joins an increasing number of versions & adaptations where Marley is also given a second-chance at redemption, but it is dependent on Scrooge. This is not so surprising in the “we’re all winners” and “everyone gets a trophy” attitudes in today’s culture. Strange contemporary theologies depending on feel-good beliefs, such as everyone goes to Heaven or damnation is not eternal, drive this scenario. Dickens’ original Marley was eternally damned and his fate was sealed. This is also not alone in making the usual pop culture mistakes of completely misunderstanding what Purgatory is and how it works as seen in most popular films and television shows.
Another aspect of Marley that has been previously used is the amount time he has been dead. Marley has been dead for one year instead of the traditional seven. This one-year time frame has been occasionally used in other adaptions since the 1990’s. Marley wakes in his grave and becomes repentant. In “Purgatory” he is given a second chance by the Ghost of Christmas Past (Andy Serkis). But his second chance is tied to Scrooge’s repentance as well.
Scrooge’s nephew, Fred, makes one appearance which is at his uncle’s place of business; it is to invite him to Christmas dinner. A surprise is that Fred gives this invitation as an ultimatum. Fred has tolerated his uncle’s cold distance because his mother (Scrooge’s sister) told Fred of an old pain in his uncle. At the prompting of his wife, he will no longer extend any more invitations to Scrooge. He will stop attempting any personal contact. He tells Scrooge this will probably be the last time they will see each other. Scrooge is expectedly cold and distant.
This adaption tries to present the motivations that shape people and/or why they tolerate personal mistreatment. Scrooge’s background of true emotional torture by his father and sexual abuse at boarding school is what shuts his humanity off. The Scrooge presented here is not a stereotypical miser; he is broken! Bob Cratchit is presented as man who does not fear his employer. This characterization makes one wonder why Cratchit would put up with such an employer. Some of this is answered by the extended part of his wife, Mary (Vinette Robinson), and her actions which have forced her to silently encourage Bob to stay with Scrooge.
There is a scene in the past where Mrs. Cratchit goes through the motions of debasing herself with Scrooge to obtain money to save Tiny Tim. The scene is very reminiscent of a deleted scene from the film Amadeus. In Amadeus, Mozart’s wife, Constanze, succumbs to Salieri’s request for sexual favors in order to help her husband. Salieri’s request was false and leaves Constanze naked and humiliated in her willfulness to go to such lengths. In this version of ACC, Mrs. Cratchit agrees to the same with Scrooge for money. Scrooge doesn’t follow through, but still gives the money to the naked and humiliated Mrs. Cratchit. Salieri’s and Scrooge’s motivations were different, but the scenes are very similar.
The Ghost of Christmas Past is first seen with Marley. He is presented as if he’s running the show (we later learn that final decisions are not his, but the Future Ghost’s). The Ghost of Christmas Past uses more than one guise with Scrooge. He first appears to Scrooge as his cruel father (Johnny Harris). Later, he appears as Ali Baba from the Arabian Nights during the visit to Scrooge’s boyhood school. I give this adaptation kudos for using Ali Baba. Many versions, including traditional, often skip the Ali Baba reference in ACC. There is no Fezziwig or equivalent. We only see Scrooge’s past love, called “Elizabeth” instead of Belle, presented as a projected film. What’s shown is an alternate reality of what might have been for Scrooge – a wife and two children.
The Ghost of the Present is Scrooge’s sister (Charlotte Riley), previously seen in the past rescuing him from his school. She is named “Lottie” instead of “Fan.” She takes them to the present day Cratchit household which is, despite family affection, filled with tension. The Cratchits only have two children. Martha is not the Cratchits’ daughter, but a friend that has Christmas dinner with them. There is no visit to Scrooge’s nephew.
The future shows the death of Tiny Tim, not by illness, but as an unfortunate accident that has nothing to do with the Cratchits’ living conditions, economic situation, nor anything related to the actions of Scrooge! Unique here is Scrooge actually removing the sheet covering his corpse to see he is the dead body being shown.
The “reformed” Scrooge doesn’t come off very well. Indeed, people still do not seem to tolerate his presence despite his so-called “reclamation.” The motivation and drive for his reform is weak and hardly seems plausible. The situations, resolutions, and relationships are not at all standard, let alone happy, in the end. But this adaptation cornered itself into the sub-standard ending. The past actions of Scrooge, along with many sins both committed against and by him, had to result in bittersweet estrangement of characters.
