films_nbc_review

The Nightmare Before Christmas
Henry Selick, USA 1993, 75 minutes
Tim Burton's The Nightmare Before Christmas clearly displays the results of a disturbed childhood, combined with an amazing, if warped, imagination. Breathtaking stop-motion animation brings to life the dark and frightening place that is Halloweentown. Each year its varied inhabitants set out to scare little children with newer and scarier ideas. However top bloke Jack Skellington has gotten tired of the old routine and yearns for a life beyond October 31st. He has girl problems as well as ugly mutant sluglike creature problems. One day he stumbles upon the door to neighbouring Christmastown, and hits upon the bright idea to kidnap Santa and take over his job. Needless to say this doesn't go entirely to plan and Jack's attempts to bring his own touch to this Christmas might not be to everyone's liking...
The dark Gothic setting of Halloweentown recalls previous Burton such as Batman, Edward Scissorhands and Beetlejuice. Yet again Burton manages to provide an antidote to the other saccharine-sweet Christmas films. The music, by previous Burton collaborator Danny Elfman (who also sings the part of Jack), is suitably dark and brooding yet also light and lively to complement the film's brighter moments.
This is clearly animation which children (and adults) want to see, with creepy-crawlies and bodily parts. Perhaps the new Burton/Selick version of Roald Dahl's brilliant James and the Giant Peach will continue this.
"Roald Dahl couldn't have conjured better *****" - Empire
Review by Neil Chue Hong
Taken from EUFS Programme 1996-97

When I was a child, one of the reasons I enjoyed the Christmas season so much was the annual arrival of those endlessly-repeated television specials: Rudolph, the Red-Nosed Reindeer, Santa Claus is Coming to Town, The Year Without a Santa Claus. Tim Burton must remember those programs too, because, in his own inimitable way, he has paid homage to them in this most twisted of holiday fairy tales, The Nightmare Before Christmas.

The scene is Halloween Town where, not surprisingly, October 31 is the biggest night of the year. However, after arranging and carrying out his most devilish Halloween yet, Jack Skellington (voiced by Chris Sarandon when speaking, Danny Elfman when singing) is suffering the post- holiday blues. He craves something different in his life, something that can't be found in Halloween Town. Wandering out in a forest, he discovers gateways to different holidays, and finds his way to Christmas Town. There, he is captivated by the lights, the festivity, and the joy. He returns home to tell everyone that this year, Halloween Town is going to celebrate Christmas. To make things complete, he, Jack Skellington, will replace "Sandy Claws" on his yearly December 25 ride, delivering presents and spreading good cheer. Everyone is enthused by the idea except Sally (voiced by Catherine O'Hara), who has a premonition of doom if Jack goes through with his plans.
The Nightmare Before Christmas is a visual splendor. Done on the cheap, this could have been a gimmicky, unsatisfying experience, but, as the result of considerable time and effort, it is an unqualified success. All of the figures move smoothly and naturally, and the attention to detail is exquisite. We are given a group of cleverly-fashioned characters that look like refugees from Edward Gorey's sketchbook.
The film is designed for all but the youngest children, some of whom might be frightened by the bizarre inhabitants of Halloween Town. On its surface, the story is relatively straightforward, enabling younger viewers to enjoy the movie without becoming lost or bored. However, the film works on a second level, as well. The most deft humor is aimed at adults. Even those who aren't taken in by the charming tale or likable characters will be enthralled by the world Tim Burton and director Henry Selick have created. It is, quite frankly, an amazing achievement.
The Nightmare Before Christmas is How the Grinch Stole Christmas thrown into reverse (although clearly the Dr. Seuss tale had a part in formulating some of the images of Christmas Town). While the Grinch made Christmas better by trying to destroy it, Jack Skellington ruins the holiday by trying to improve it. But don't worry -- everything turns out all right in the end. After all, this is a family film.
The blandness of Danny Elfman's songs represents The Nightmare Before Christmas' most serious failing. With the exception of one or two, these tunes are uniformly unmemorable. They certainly lack the "hummability" of Alan Menken's work for Disney's recent animated releases. Nothing in Nightmare is close to "Be Our Guest" (Beauty and the Beast <../b/beauty.html>) or "Friend Like Me" (Aladdin <../a/aladdin.html>).
The Nightmare Before Christmas has something to offer just about everyone. For the kids, it's a fantasy celebrating two holidays. For the adults, it's an opportunity to experience some light entertainment while marvelling at how adept Hollywood has become at these techniques. There are songs (even if they aren't nearly as noteworthy as they should be), laughs, and a little romance. In short, The Nightmare Before Christmas does what it intends to: entertain.
© 1993 James Berardinelli