When this was first broadcast back in 1980, we taped it for later viewing because, as pro singers, we were both out (where else?) singing Christmas concerts. On the surface, this would seem to be yet another retelling of the cliché that the Christmas spirit has the magical (and cloying) power to bring us all together, mend fences, cure global warming, etc., etc. But it's more. Each character, even the minor ones, faces a moment of realization that the status quo of his or her life is simply not enough to meet the needs of reality.
In leaving a bad marriage, Zoe strives to be a more fulfilled person, but also understands that her decision will ultimately benefit her ex-husband and son as well; rather than an expression of selfishness, it's a wrenching left turn that frees them all from a future of ennui and anger. Plenty of preachers make it through their careers without having to stray from the bland platitudes they learned in seminary, but the Rev. Lohman (James Cromwell) is grabbed by the scruff of his faith and compelled to deal with a world that isn't "nice," where pain and injustice don't just melt away. Even Muriel is forced to climb out of the frantic little box of fears she has built for herself, even if it's just a step or two. In fact, the only character who doesn't approach a state of satori is the "professional" soprano, who must protect her fragile ego at all costs, and thus becomes the one truly unsympathetic character.
I've never really thought about this little film until now, but always wondered why it was so satisfying year after year. Now I know.
One more note -- I bought a DVD version of this film last year in the hope of improving on the quality of my 27-year-old Beta (!). Sadly, it's just as choppy as the original, as if the negative were lost and all that's left for striking new copies is a work print. Also, does anyone else think the ending is a bit abrupt, as if there were about three minutes of resolution that had to be cut? Happy New Year!
In leaving a bad marriage, Zoe strives to be a more fulfilled person, but also understands that her decision will ultimately benefit her ex-husband and son as well; rather than an expression of selfishness, it's a wrenching left turn that frees them all from a future of ennui and anger. Plenty of preachers make it through their careers without having to stray from the bland platitudes they learned in seminary, but the Rev. Lohman (James Cromwell) is grabbed by the scruff of his faith and compelled to deal with a world that isn't "nice," where pain and injustice don't just melt away. Even Muriel is forced to climb out of the frantic little box of fears she has built for herself, even if it's just a step or two. In fact, the only character who doesn't approach a state of satori is the "professional" soprano, who must protect her fragile ego at all costs, and thus becomes the one truly unsympathetic character.
I've never really thought about this little film until now, but always wondered why it was so satisfying year after year. Now I know.
One more note -- I bought a DVD version of this film last year in the hope of improving on the quality of my 27-year-old Beta (!). Sadly, it's just as choppy as the original, as if the negative were lost and all that's left for striking new copies is a work print. Also, does anyone else think the ending is a bit abrupt, as if there were about three minutes of resolution that had to be cut? Happy New Year!