Scrooge: A Christmas Carol, written by Stephen Donnelly, has the heavy responsibility of adding a new element to a story told hundreds of times. After all, The works of Charles Dickens have become a Christmas tradition. own the right.
Donnelly knows this and turns to animation to add breadth, brightness and whimsical elements to the story. But it also does something else. This creates a perception in which the well-known story of a miserly old man who must face his past in order to soften his heart is in dialogue with the new generation. At least he makes a determined attempt to do so, even if the result is often too mild to be effective.
Per Scrooge: A Christmas Carol, it is of considerable interest to understand the essence of their conflict. This time, Scrooge is more than just a pissed-off character hurt by a painful past. Ebenezer Dickens in the next film adaptation is a man who heals, as best he can, wounds that have not completely healed. He is not close, much less friendly.
Scrooge: A Christmas Carolnew version of the classic
Story Scrooge: A Christmas Carol, which tells about the adventures of Ebenezer Scrooge in the past and the future, retains its charm. However, the possibility of being in the realm of the animate makes the circumstances even more curious.
The atmosphere changes from agonizingly dark to glitzy looking, almost sweetened by a great soundtrack. However, the transitions are not entirely adequate, and the film ends up moving at a strange, awkward, and even erratic pace.
One of the big problems Scrooge: A Christmas Carol this is mix background narration and visual effects display in one whole. More often than not, this is not the case, and in fact the film seems to move from one end of the emotional spectrum to the other without unity or coherence.
Sometimes the script seems to have serious problems showing one story. On the one hand, he closely follows his central character. His past is later presented as a glowing explosion of ideas about loneliness, uprooting and marginalization. In the midst of the hectic tone of the narrative, something seems to be left halfway, unfinished, with an unfortunate lack of resolution.
Grumpy old man with a funny twist
Scrooge: A Christmas Carol analyzes Ebenezer’s surly character with an emotional look. The protagonist’s already classic grudge against the friendliest time of the year is now transforming into a chain reaction. A sort of furious, tired and irritated evolution on coexistence, love and loss.
But, as a production designed for a younger audience than usual, Scrooge: A Christmas Carol must immediately establish that its protagonist hates happiness. The simple idea that the screenplay, written by Leslie Bricus and Donnelly himself, based on the 1970 musical Scrooge starring Albert Finney, evolves intelligently.
The character regrets celebration, expansiveness, and the possibility of joy. He faces it as best he can, revels in his ability to do so. There is something of a fraudulent enthusiasm in the first ten minutes of the film. In fact, his Scrooge is much more of a villain than an anti-hero, and more fun than just being cruel.
This was a man who regretted Christmas in many ways.
With some resemblance to the Grinch in Dr. Seuss’s beloved fairy tale, the plot connects the idea of satirical mockery with something more meaningful. Scrooge has a disgusting character, but he also suffers silently.. Although Dickens’ story is stripped of all the complex elements, the meaning remains the same.
In fact, it is the most powerful in its simplicity. This old man, full of rage, capable of raising his fist and a stick to strike, also has an adorable dog that he takes care of. Thus the story, with naive skill, narrates the various versions of Scrooge as little pieces of a large and single card. However, this supposed innocence is sometimes unsuccessful.
After all, the story is aimed at a very young audience and Scrooge: A Christmas Carol he surrenders to this opportunity. The animation is getting sharper and sharper, and the director is using too much color in an attempt to breathe new life into the story. But this is only half successful, because the visual exaggerations end up diluting the main story. Suddenly, Scrooge’s time travel was also an acknowledgment of the existence of another world – another life – which he must understand. But everything is built to impress, dazzle, not move.
In the end, this bittersweet fable in which one discovers the meaning of Christmas ends in an almost insane multicolored celebration. A look at a journey through the good, the bad, and memories that could have been very deep and yet chose to be only vivid. The biggest production problem.
