Christmas Classics: How the Grinch Stole Christmas! (1966)

A few members of Team Experience will be sharing posts on their favorite Christmas movies. Here's Tim...

Today we celebrate the 50th anniversary of a great classic: it was on December 18, 1966, that the world got its first look at the animated How the Grinch Stole Christmas, adapted from the 1957 book by Dr. Seuss and directed by cartoon legend Chuck Jones. There are too many ways we could quantity the importance of this television special: as the last of Jones's masterpieces before he settled into Elder Statesman status, as the progenitor of a line of generally strong Seuss adaptations that didn't stop until the beginning of the 1980s, as the third in a line of deathless cartoon Christmas specials that premiered one per year from 1964 to 1966 (Rudolph the Red-Nose Reindeer and A Charlie Brown Christmas are the others).

But since it's the holiday season, let's start with how this is one of the loveliest and most heartfelt stories of the True Meaning of Christmas ever filmed. That is, in no small part, because neither Seuss nor Jones were overt sentimentalists: the author had a slightly arch, caustic tone to his highly precise rhyming that's too self-aware to be saccharine, and Jones built his career on anarchic cartoon comedies, making no fewer than three films on the theme "how many ways can we shoot Daffy in the face?" And with that kind of attitude underpinning the proceedings, How the Grinch Stole Christmas ends up being a little bit saltier than most of the other canonical Christmas classics. Obviously, it gets to the expected place where we all learn important lessons and feel better and embrace tradition, but it works a little bit harder than usual to make sure that it's earned.

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"Dreamgirls" at 10

by Chris Feil

With La La Land, isn't it great to have a musical out in front again this Oscar race, especially one that brings such joy (sideyeing you specifically, Les Miz)? And as Nathaniel pointed out, that shouldn't be taken for granted.

Ten years ago, Dreamgirls was a more traditional genre high, and ulitmately taught us not to get too comfortable with a musical's Oscar chances after it landed that year's highest nomination tally but missed Best Picture and Director. But maybe that miss resulted from voters tiring of a campaign that started a full year before release, and not from the quality of the film.

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Kirk Douglas Centennial: Spartacus (1960)

Here's Eric to continue our mini Kirk Douglas fest. The actor turns 100 tomorrow

The story goes that Kirk Douglas was so disappointed that William Wyler didn’t cast him as the lead in 1959’s Ben-Hur that he optioned Howard Fast’s similarly-themed novel Spartacus for his chance to conquer the Roman Empire...  

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Kirk Douglas Centennial: 20,000 Leagues Under the Sea

Here's Tim to continue our mini Kirk Douglas fest. The actor turns 100 this Friday.

And now, a little change of pace. I don't think the cinephile lives who'd argue that Kirk Douglas's performance in the 1954 sci-fi adventure 20,000 Leagues Under the Sea is his best, or anywhere particularly near his best. It is, however, quite possibly his most fun, as is to be expected from a star turn as the meathead sailor hero in a live-action Disney film.

Douglas gets first-billing in the movie, though he's probably not the first thing you'd think about if you looked back over the film in your mind...

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Kirk Douglas Centennial: The Bad and the Beautiful

Here's Dancin' Dan to continue our mini Kirk Douglas  fest. The actor turns 100 this Friday.

For every performer, a film lover has THAT performance. The one that makes you fall in love with them. Or, short of that, the moment you totally understand why they became a star.

I had seen a few Kirk Douglas films before Vincente Minnelli's The Bad and the Beautiful, most notably Spartacus and 20,000 Leagues Under the Sea, but I was not a great lover of the man himself even when I liked the films. That changed when watching Minnelli's behind-the-Hollywood-scenes epic. Whether it was due to the match of actor to character, the quality of the film, or Douglas's performance itself, who can say, but this performance made me a believer...

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