Still, glutton that I am for this Dickensian feast, you have to wonder how anyone could possibly find anything new to bring to the story.
The answer is The Man Who Invented Christmas, a delightful fantasia on the writing of A Christmas Carol at a pivotal moment in the life of its author. It's based on Les Standiford's non-fiction book on how Dickens, beset by financial and family worries, set out to write and publish a Christmas book in only six weeks.
But dry facts are transformed into delicious fiction by scriptwriter Susan Coyne, who combines Dickens' real life with the volatility of his active imagination — whose impudent characters keep overflowing into every other aspect of his life.
|Dickens vs Scrooge: who's in charge of this story?|
With a new house to furnish and an ever-burgeoning family, Dickens roams the London streets in search of inspiration — an elderly waiter at the Garrick Club; beggars in the street.
But it's not until he overhears the young Irish nanny, Tara (winsome Anna Murphy), telling a spooky story to his children, that Dickens gets the idea for a ghost story set on Christmas Eve — as experienced by a greedy, covetous old sinner named Scrooge (Christopher Plummer), who calls the season "Humbug!"
|Marly may be dead as a doornail, but he keeps popping up.|
(They're like actors backstage, clamoring for their script.)
Meanwhile, in the real world, his publishers reject the first stave of his story; Dickens angrily returns their check, and pays to publish the installments and hire illustrator, Leech (Simon Callow), out of his own pocket — while desperately trying to finish the book.
The arrival of his perpetually impecunious father (Jonathan Pryce), the role-model for Mr. Micawber, further complicates things.
Coyne is the ideal translator of this material, well-versed in acting, writing, and theater. (She created the hilarious, cult Canadian TV series Slings and Arrows, about the tension between art and commerce in a modern Shakespearean theater company.)
|Coyne as Anna, Slings and Arrows: harried|
Her scenes of Dickens at work ring especially true. Every writer has experienced that moment: the idea has come, you're just starting to commune with your characters, and boom! Somebody knocks on the door. The phone rings.
Your story dissolves and you're back in the real world.
Stevens is a master of the eye-rolling slow burn as Dickens, reacting to every interruption with teeth-gritting cordiality.
He's great as the physical embodiment of the writing process (which is generally not a spectator sport), stalking around his study, having animated conversations with characters only he (and we) can see.
But what's most interesting about Coyne's interpretation — and it sneaks up on you amid the fun and frivolity — is the way Dickens himself is shown to have a dark side that also informs his work.
Beneath his unfailingly polite and jovial exterior, he too has begun to forge a chain; it's not yet as long as Scrooge's, but redemption must be sought before he can move on.
You don't have to be an expert on the Carol, or Dickens' ouvre, to appreciate the sly gusto with which Coyne and company weave references to Dickens' world and his work into the fabric of their film.
Yet this is a highly original work of holiday cheer: witty, bracingly unsentimental (yet honestly moving), and hugely entertaining.
(Charles Dickens, painted by Daniel Maclise, 1839 (age 27). He was 31 when the events of this movie take place!)