The story is as well known as any ever told in any form: a despicable miser is visited by three ghosts, of past, present, and future, on Christmas Eve who compel him to completely reverse his disposition. For this 1951 outing, which alternately bears the title of Charles Dickens' 1843 novel, writer Noel Langley and director Brian Desmond Hurst opted for a darker, more inclusive though, oddly, a shorter film making the results seems rushed and doesn't carry the same emotion. Scenes that have been seldom been shown on screen, such as Scrooge at his sister's deathbed and his chambermaid divvying up his lot amongst friends following his demise, aren't nearly as engrossing as they should be. This version featuring Alastair Sim, who does make a very fine Scrooge, is generally considered the definitive film adaption of A Christmas Carol. Though it's an earnest and unique attempt, I would suggest the 1939 interpretation with Reginald Owen as the contrary penny-pincher.
Entertainment Magazine
The story is as well known as any ever told in any form: a despicable miser is visited by three ghosts, of past, present, and future, on Christmas Eve who compel him to completely reverse his disposition. For this 1951 outing, which alternately bears the title of Charles Dickens' 1843 novel, writer Noel Langley and director Brian Desmond Hurst opted for a darker, more inclusive though, oddly, a shorter film making the results seems rushed and doesn't carry the same emotion. Scenes that have been seldom been shown on screen, such as Scrooge at his sister's deathbed and his chambermaid divvying up his lot amongst friends following his demise, aren't nearly as engrossing as they should be. This version featuring Alastair Sim, who does make a very fine Scrooge, is generally considered the definitive film adaption of A Christmas Carol. Though it's an earnest and unique attempt, I would suggest the 1939 interpretation with Reginald Owen as the contrary penny-pincher.
