CHRISTMAS EVE (1947) is an often forgotten film. But it holds one distinction: it was the first writing job of screenwriter, director Robert Altman.
The film is about elderly Matilda Reid, played by Ann Harding. Matilda is extremely wealthy and eccentric. She invites birds inside her home to be fed and runs a train set at the dinner table, which delivers items like cream and sugar.
Matilda’s nephew, Phillip Hastings, played by Reginald Denny, is trying to prove that his aunt is mentally unfit and tries to become the executor of her estate. Matilda would prefer for her three adopted sons to manage her estate, but the trouble is that she hasn’t seen them in many years. She asks for lawyers to wait until Christmas Eve for her sons to return home to her and hires a private detective to help locate them.
As we meet each son, they have their own vignette to tell their story:
• Michael, played by George Brent, is a playboy; spending more money than he has. Michael tries to marry a wealthy woman to help pay off his debt of $70,000 in bad checks. Ann Nelson, played by Joan Blondell, is in love with Michael and tries to stop the wedding.
• Mario, played by George Raft, is in South America, where he runs a nightclub and is avoiding American police. He was involved in a crime in New Orleans and fled the country. Mario is dating Claire, played by Virginia Field, who he realizes is involved with Nazi war criminals, who he tangles with.
• Jonathan, played by Randolph Scott, is a broken down cowboy who drinks too much. Upon arriving in New York City on his way to see Matilda, he is sidetracked by a pretty girl, Jean, played by Dolores Moran. Jean is trying to expose an illegal adoption ring and wants Jonathan to pose as her husband to get a baby.
Aunt Matilda’s train set up at the table
The three find their way back to Matilda, all pretending that their lives are perfect, but Aunt Matilda sees through each of them.
Though titled CHRISTMAS EVE, the film isn’t solely a Christmas movie. With each story, it’s part comedy, film noir and adventure. Sometimes in each vignette, particularly George Raft’s area, you almost forget about the Matilda storyline. But the story ties together at the end, and we learn that cousin Phillip is responsible for the hardships of some of the boys. It’s also clear that Matilda won’t be alone anymore, as three baby girls make their way to her.
George Raft in “Christmas Eve”
The storyline in CHRISTMAS EVE is a bit unpredictable and catches you by surprise the first time you see it. You don’t go into this film expecting to see Nazi war criminals and a baby smuggling ring. But I still enjoy it.
What’s most notable about this film is Robert Altman’s uncredited work on the screenplay.
Today, most people know Robert Altman for his work in the 1970s; directing great films like M.A.S.H. (1970), THE LONG GOODBYE (1973) and NASHVILLE (1975) or writing the screenplay for McCABE and MRS. MILLER (1971).
But in his early days of Hollywood after serving in World War II, Altman worked as a writer in Hollywood. His first two films were CHRISTMAS EVE, for which he wasn’t credited, and the film noir BODYGUARD (1948), for which he received his first credit.
Altman’s father lived in Malibu, and below his apartment lived George W. George, the son of cartoonist and inventor, Rube Goldberg.
“George had an uncle who was a director. George was going to be a director, too, and I was going to be a writer, so we started working together. We wrote treatments and sold two of them, one to RKO The Bodyguard, with Lawrence Tierney, and Christmas Eve, with George Brent and Randolph Scott,” Altman said in an interview published in the book “Altman on Altman.”
The film was also known under the title SINNER’S HOLIDAY. Altman heard that producer Benedict Bogeaus was looking for a holiday tie in for the story, and made his way into the producer’s office to pitch an idea, according to Robert Altman: Jumping Off the Cliff by Patrick McGilligan.
While CHRISTMAS EVE was the starting point of Altman’s career, I feel like it was the downswing for most of its stars or their careers were beginning to change.
The leads of Ann Harding, George Brent, George Raft, Joan Blondell and Reginald Denny all found their greatest success in the 1930s, particularly during the Pre-Code era. While they were all still active in films, they weren’t of the same caliber. Here are some of the shifts in careers:
• At 45 and around the same age as her male co-stars, Harding plays a woman of 70 convincingly. This same year, she was in another holiday film, IT HAPPENED ON 5TH AVENUE. Now, she was playing mothers, while in the 1930s, she played women of questionable morals, like in DOUBLE HARNESS.
• This was Randolph Scott’s last non-western film, though he still plays a cowboy. Scott performed strictly in westerns until his last film in 1962.
• George Brent was also moving into parental roles, with his next film as Jane Powell’s father in LUXURY LINER.
• After Christmas Eve, Joan Blondell wouldn’t appear in another film until 1950.
• Actress Dolores Moran was the newest to Hollywood of the group, starting in films in 1940 with her first credited role as grownup Deidre in OLD AQUINTANCE (1943). Extremely beautiful, Moran was a popular pin-up of World War II, and her popularity seemed to diminish after the war. Moran was married to the film’s producer Benedict Bogeaus, and she also didn’t make another film until 1950.
CHRISTMAS EVE was later remade for television in 1986 with Loretta Young as the elderly woman. In the next adaptation, she is looking for her grandchildren, and it’s her son who is trying to say she is senile. Bringing everyone back together could also be compared to the television movie, THE GATHERING.
While CHRISTMAS EVE (1947) may not be a memorable Christmas favorite, I still find it enjoyable. It has something for everyone: drama, comedy, film noir and the holidays. It’s a bit of a wild ride, but a fun one.
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