Dec 10, 2019 by William Lewis.
Everyone (at least secretly) loves Christmas films, but on closer inspection, it's the least woman-friendly genre there is. Caroline O’Donoghue investigates.Christmas films are a funny one. I, for one, am a huge fan: I love that once a year, we put aside snobbery and how technically “good” a film is, in favour of how much joy it can deliver in 90 minutes. But for all the goodness and morality that Christmas films preach, there’s a disturbingly prominent amount of gaps in the genre. Or, to put it more bluntly: every friggin’ character is a white guy. Home Alone: little white boy is left alone in his mini-mansion for three days. Elf: big white boy is fostered by large white man, travels to New York to find thin white man. Jingle All The Way: negligent white dad finds white male toy for white male son. I could go on for days, guys, days. But I’m not here to crap on your Christmas joy. These are still lovely films, and a lack of female characters doesn’t necessarily make something bad, just shortsighted. And to be honest, I find it fascinating how we got to this point in the first place. The first Christmas film, released in 1901, was (unsurprisingly) an adaptation of A Christmas Carol. The Dickens classic now gets remade every time a British actor turns 50, and all other Christmas films have sort of followed the Christmas Carol formula. At the centre of the narrative, there is a man who has let money overrule the spirit of Christmas, and hence, the importance of community. Whether that’s George Bailey in It's A Wonderful Life lamenting the Buildings and Loans, or Buddy the Elf’s father obsessed with business, there’s a weird preoccupation with white guy capitalism in the background of so many Christmas films. In Jingle All The Way, Arnold Schwarzenegger’s work takes him away from his family so much that his neighbour is threatening to steal his wife. STEAL HIS WIFE! Like we’re in bloody feudal times and you can just put a bag over someone’s head and claim they’re yours.
Christmas films are made to do good business, to appease the American family, and to inspire TV channels to re-run them for years to come. And so, they’re painted with broad, vanilla, old-fashioned strokesThe weird paradox is that while so many Christmas films wind up ditching the establishment in their final scenes (George Bailey is “the richest guy in town!” with just his family) the films themselves are tethered to the ideas they reject. Christmas films are made to do good business, to appease the American family, and to inspire TV channels to re-run them for years to come. And so, they’re painted with broad, vanilla, old-fashioned strokes: they are about white people. They are about straight people. They are about well-meaning men and mischievous little boys. The women, meanwhile, are apron-wearing mothers, or twinkly-eyed love interests. The easiest way to expose this is the Bechdel Test. In case you’re hearing about this for the first time, the Bechdel test is a thought experiment you can apply to films to see whether or not they take their female characters as seriously as they do their male ones. Does the film have two named women? Do they feature in the same scene? If they fall down on any of these three, they have failed the Bechdel Test. Lots of good films fail the Bechdel Test, but Christmas films, as a category, fail spectacularly. Even the brilliant ones! Miss Piggy in a Muppet’s Christmas Carol talks to her daughters exclusively about when their father is coming home. The women in It’s A Wonderful Life speak exclusively to each other about George Bailey. Miracle on 34th Street, while it focuses on a mother-daughter relationship, talk only about Santa Claus. So, do any pass? Only a few, I’m afraid. When I set out to watch Christmas films that pass the Bechdel Test, I thought it would take a lot more dedication than it did. In fact, I was able to watch most of them in a few evenings.