The Buzz: ‘A Christmas Carol’ Merry & Scary

It’s that time of year again, and with it, another adaptation of a Christmas classic. Of the many holiday favorites, none are quite so universally well-known and familiar as Charles Dickens’ A Christmas Carol. With so many different versions of A Christmas Carol, it almost feels as if near everyone and everything has had a chance to tell “their” Christmas Carol. The beloved classic has gone through countless adaptations, from The Muppets, to Mickey Mouse, to a Hallmark film starring the late Carrie Fischer. Regardless of who was the distributor or studio power behind the film, the story always felt the same. At least, that was the case. FX is the latest to take A Christmas Carol for a spin, and boy did they spin the story right on its axis. FX’s A Christmas Carol is a three-part series – or a televised film depending on the source – in association with BBC One. It’s a product of writer Steven Knight, a driving force behind Netflix’s hit sensation, Peaky Blinders. Very clearly, the inspiration and influence of Peaky Blinders comes across in Knight’s retelling of this Christmas classic. 

The series opens with a disgruntled youth pissing on Jacob Marley’s (Stephen Graham) grave. An antithesis of its predecessors, FX’s A Christmas Carol is darker and graver – no pun intended – than to be expected. Almost as dark as the lighting. Indeed, the first words of spoken dialogue are a harsh curse against the deceased Marely, “skinflint old b*****d”. If that doesn’t help establish the tone, it’s hard to say what would. From there, the series alternates between focusing on the Ebenezer Scrooge (Guy Pearce) who may perhaps be the youngest “old” Scrooge to date. He’s not an old man in appearance, but bitter and cold like the winter frost, the very frost that decorates the title font. Much like Knight’s characterizations in Peaky Blinders, Scrooge is a man of near unattainable success and has a propensity for empassionate yet intellectual discussion. Whether those discussions are one-sided conversations with his departed friend or his criticisms against his employee Bob Cratchit (Joe Alywn), Scrooge is most definitely not a fan of the holidays…or humanity in general. Despite being set in the 1800s, a lot of Scrooge’s critiques can still be applied to modern-day mass consumerism and commercialism. It’s a skill of Knight’s that appears both in Peaky Blinders and in FX’s A Christmas Carol, to be able to create a connection or relatability even with the temporal differences.

But it’s not just the dialogue that adds to the somber sense of the series, it’s the mise-en-scene. Darkly and dimly lit, it’s sometimes hard to clearly make out facial expressions. Purgatory, where Marley is given his charge of monitoring Scrooge, is wonderfully set up. A hellish and fiery pit akin to that of hell. In the mortal realm, the surroundings are either spacious and silent or largely cramped and claustrophobic. Long shots help add to the sense of being alone or distant. It presents a grittier London, not as clean cut or as pretty as one would imagine on the screen. As for the backstories for the characters, they’re not the prettiest either. In fact, Knight has given Scrooge, Marley, and Mary Cratchit (Vinette Robinson) all pasts that are far scarier than any haunting. It’s a welcome but woeful addition to the story.

Consistent with the source material, Scrooge is visited by three spirits. Of the three, he spends the most time with the Ghost of Christmas Past (Andy Serkis). Unlike his previous renditions, he is neither jolly nor jovial. Serkis’ interpretation of his spectral character is that of a spirt who enjoys a challenge. He has had men beg and women weep at his feet from the memories and nightmares he has inflicted upon them. Pearce’s best acting comes out when Scrooge must interact with the spirits, especially that of Christmas Past. Despite being a grown man, the childish fear and horror he expresses at seeing his childhood tormentors is gut-wrenching. Speaking of guts, there is mild gore in the interaction with the spirits. Nothing too graphic, just a disjointed jaw and the silhouette of a decapitated mouse.

The Ghost of Christmas Present (Charlotte Riley) is the same actress who plays Scrooge’s sister, Lottie. It is during her visitation that the emotional impact of Scrooge’s past crimes is drawn to light. If terrorized acting was the highlight of Christmas Past, then the soundtrack is what stands out during this portion. Chilling and somber, it adds to the severity of the situation. Finally, there is the Ghost of Christmas Yet To Come (Jason Flemyng). During this section, editing and effects are the high point. Nothing says Christmas like the floating corpse of a potential death. 

Emotion is what sets this Christmas Carol apart from the others. It’s not a “feel good” film for the family. Scrooge is consistently set up as a villain of the highest offense. He quite literally faces his personal demons and the lives lost at his own personal pursuit for profit. The expectation of a happy ending and its denial are what make the ending so poignant. Scrooge does have a change of heart, but his future is left ambiguous. As is that of the viewers. Mary Cratchit, given a stronger connection to Scrooge in this series, is the final character to have any spoken line or screen time. Her last words are a direct address to the audience, one entirely unexpected and jarring. It’s almost akin to that of the direct address from the ghost in The Woman in Black (James Watkins 2012).

FX’s A Christmas Carol is surprisingly stunning. Refreshingly so. Somewhat slow due to the antiquated way of speech and the constant interruptions by commercials, but worth the wait. Just as Scrooge must overcome his past, so too must the series. It’s a powerful film, but one must first put aside prior prejudice or expectation. Admittedly, it’s a bit difficult to take this “tougher” version of a familiar story seriously. Going in, it has the same impression as a child wearing their parents’ clothes: a valiant effort, but still juvenile. But from the get-go, it’s apparent that this is not a children’s story, it’s barely a Christmas one. FX’s A Christmas Carol touches upon serious topics like childhood sexual abuse or mass death. There is no merry Christmas, no “bless us one and all”, but there is an enjoyable and an unforgettable experience. The best Christmas miracle is in making an old story feel new, and in that sense, FX’s A Christmas Carol has succeeded beyond all belief.