Snowbound with George on Christmas Eve

You always assume that things will turn out as planned, but some­times they don’t. Pam and I had all but packed our suit­cases ear­lier in the week for a trip to visit with my brother and his fam­ily in Seat­tle, as well as my par­ents, who were going to be vis­it­ing from Bal­ti­more. Mother Nature had other ideas.

The fact that Canada is enjoy­ing the first coast-to-coast ‘White Christ­mas’ in 40 years is not lost on me, and it is pretty out there. Pam and I had a nice time walk­ing in the first of the snow­storms, and it looks like storm num­ber three, which started last night, will dump nearly as much on us.

The car is not ready to drive on these kinds of roads. We don’t have any snow tires, as we don’t drive that much to begin with and nei­ther of us use it to get to a work­place (unlike the days when I was work­ing in Burn­aby for IBM). Snow tires are not usu­ally needed here.

So, here we are, like hiber­nat­ing bears in our cave, look­ing out at the snow. Well, not exactly like bears in one key respect: Hiber­nat­ing bears don’t eat, and I’ve been cook­ing like crazy. I roasted a chicken stuffed with herbs and lemon (an old Jamie Oliver recipe that I’ve com­mit­ted to mem­ory), and yes­ter­day did a large pot roast with car­rots, parsnips, turnips and pota­toes.  This after­noon I baked a tray of oat­meal muffins (after also bak­ing a bunch of cook­ies ear­lier in the week). We’ve also got some steaks in the freezer, and since Granville Mar­ket is closed for the next 2 days, we’ll prob­a­bly eat those as well, along with some of other food in our larder, which we stuffed full just in case the weather did get worse.

The other thing I did, which I do nearly every year, was watch Frank Capra’s movie “It’s a Won­der­ful Life”.  For me, it tran­scends movie mak­ing to become a piece of art, the same way that some Nor­man Rock­well illus­tra­tions do. I keep find­ing new details in it, the way you do with any great piece of sto­ry­telling or music. There’s always some lit­tle motif or pas­sage here or there that after the 10^th hearing/viewing you sud­denly real­ize is referred to or echoed in some other place. Capra’s film also has a lot more res­o­nance now, when the news reports from the States ear­lier in the evening eerily echoed (or pre­saged?) the talk in the movie of peo­ple being fore­closed on their homes because of not being able to pay mort­gages, runs on banks and acts of char­ity. How many peo­ple might be, this evening, need­ing to draw upon char­ity for the first time in their lives, the way that George Bai­ley had to?

I noticed that a week or so again, Wen­dell Jamieson of The New York Times wrote a fas­ci­nat­ing reassess­ment of the film, and actu­ally found it to be essen­tially a big fat lie, some­thing that he first sus­pected when he was shown the film at school when he was 15 year’s old:

“It’s a Won­der­ful Life” is a ter­ri­fy­ing, asphyx­i­at­ing story about grow­ing up and relin­quish­ing your dreams, of see­ing your father dri­ven to the grave before his time, of liv­ing among bit­ter, small-minded peo­ple. It is a story of being trapped, of com­pro­mis­ing, of watch­ing oth­ers move ahead and away, of becom­ing so filled with rage that you ver­bally abuse your chil­dren, their teacher and your oppres­sively per­fect wife. It is also a night­mare account of an end­less home renovation.

Holy Cow!  Believe it or not, his opin­ion of the film’s mes­sages actu­ally gets harsher still:

Many are pulling the movie out of the archives lately because of its pre­science on the per­ils of trust­ing bankers. I’ve found, after repeated view­ings, that the film turns upside down and inside out, and some glar­ing — and often funny — flaws become appar­ent. These flaws have some­how deep­ened my affec­tion for it over the years. Take the extended sequence in which George Bai­ley (James Stew­art), hav­ing repeat­edly tried and failed to escape Bed­ford Falls, N.Y., sees what it would be like had he never been born. The bucolic small town is replaced by a smoky, nightclub-filled, boogie-woogie-driven haven for show­girls and gam­blers, who spill rau­cously out into the crowded side­walks on Christ­mas Eve. It’s been renamed Pot­tersville, after the vil­lain­ous Mr. Pot­ter, Lionel Barrymore’s schem­ing financier.

Here’s the thing about Pot­tersville that struck me when I was 15: It looks like much more fun than stul­ti­fy­ing Bed­ford Falls — the women are hot, the music swings, and the fun times go on all night. If any­thing, Pot­tersville cap­tures just the type of excite­ment George had long been seeking.

…

Not only is Pot­tersville cooler and more fun than Bed­ford Falls, it also would have had a much, much stronger future. Think about it: In one scene George helps bring man­u­fac­tur­ing to Bed­ford Falls. But since the era of “It’s a Won­der­ful Life” man­u­fac­tur­ing in upstate New York has suf­fered terribly.

On the other hand, Pot­tersville, with its night­clubs and gam­bling halls, would almost cer­tainly be in much bet­ter finan­cial shape today. It might well be thriving.

I checked my the­ory with the oft-quoted Mitchell L. Moss, a pro­fes­sor of urban pol­icy at New York Uni­ver­sity, and he agreed, point­ing out that, of all the upstate coun­ties, the only one that has seen growth in recent years has been Saratoga.

“The rea­son is that it is a resort, and it has built an econ­omy around that,” he said. “Mean­while the great indus­trial cities have declined ter­rif­i­cally. Look at Con­necti­cut: where is the growth? It’s in casi­nos; they are con­stantly expanding.”

In New York, Mr. Moss added, Gov. David A. Pater­son “is under enor­mous pres­sure to allow gam­bling upstate because of the eco­nomic problems.”

“We ease up on our lot of cul­tural behav­iors in a depres­sion,” he said.

What a grim thought: Had George Bai­ley never been born, the peo­ple in his town might very well be bet­ter off today.

Well, I’m not sure that the raunchy Vegas-like Pot­tersville is any bet­ter than the Biff Tannen’s alter­nate Uni­verse town of Hill Val­ley (which doesn’t get a rename, despite the sim­i­lar biz­zaro treat­ment) in Back to the Future II.  I’ll bet that a few choice grotesque zooms on the land­scape of Pot­tersville would have hor­ri­fied the rest of us as much as it did George Bai­ley rather than thrill him that that his town was less bor­ing with him not in it. Capra per­haps didn’t want to hit us over the head with the mes­sage, so it didn’t escape the 15-year old Mr. Jamieson’s cynicism.

Any­way, apt or not, I still find it a great piece of sto­ry­telling, even if it teaches us all the wrong things. Jamieson is not alone in his dis­dain for the film. Besides the fact that the movie was con­sid­ered a finan­cial flop (too expen­sive to make, didn’t make back what it cost), Charles Affron on filmreference.com says:

The impe­tus and struc­ture of It’s a Won­der­ful Life recall the famil­iar model of Capra’s pre-war suc­cesses. Mr. Deeds Goes to Town, Mr. Smith Goes to Wash­ing­ton and Meet John Doe. In each of these films, the hero rep­re­sents a civic ideal and is opposed by the forces of cor­rup­tion. His iden­tity, at some point mis­per­ceived, is finally acclaimed by the com­mu­nity at large. The pat­tern receives per­haps its dark­est treat­ment in It’s a Won­der­ful Life. The film’s con­ven­tions and dra­matic con­ceits are mis­lead­ing. An idyl­lic rep­re­sen­ta­tion of small-town Amer­ica, a guardian angel named Clarence and a Christ­mas Eve apoth­e­o­sis seem to jus­tify the film’s peren­nial screen­ings dur­ing the hol­i­day sea­son. These are the signs of the ingen­u­ous opti­mism for which Capra is so often reproached. Yet they func­tion in the same way “happy end­ings” do in Moliere, where the arti­fice of per­fect res­o­lu­tion is in ironic dis­pro­por­tion to the real­i­ties of human nature at the core of the plays.

Maybe I should have just watched Rudolph the Red Nosed Rein­deer instead.