My boyfriend Will and I immersed ourselves in a multitude of Christmas
movies this past holiday season, and since we watched some of them alone
and some with my parents or a friend, a couple flicks got covered
twice. One of those was the wacky 1989 classic National Lampoon’s Christmas Vacation.
Along with A Christmas Story,
this is the movie I most often see referenced by people whose stomachs
turn at the steady trickle of treacle provided by so many holiday films.
I’m a sucker for sap, so I never mind, but I can see how this movie
written by John Hughes and directed by Jeremiah S. Chechik would appeal
to those who consider Christmas primarily a hassle.
As he does
in several other movies in the series, Chevy Chase stars as lovable
schmuck Clark Griswold. Clark just loves Christmas, and he’s
over-the-moon excited that he finally gets to host a big celebration of
his own. His level-headed wife Ellen (Beverly D’Angelo) and embarrassed
kids Rusty (Johnny Galecki) and Audrey (Juliette Lewis) aren’t so
thrilled. Not only do they have to deal with his impractical
extravagance, they must navigate the inconveniences posed by two sets of
grandparents and an uninvited redneck cousin.
I’m always one
to cringe at wanton mayhem, so I’m not wild about all the destructive
sequences in this movie, though some of them do make me laugh. As an
animal lover, there is one scene in particular that I find distasteful,
and as obnoxious as they are, I do feel a little sorry for the neighbors
played by Nicholas Guest as Seinfeld’s Julia Louis-Dreyfus, as
they most often fall victim to Clark’s tinkering. From the oversized
tree and the malfunctioning lights to the super-powered sled and the
Christmas Eve hostage crisis, just about every mishap in this movie is a
result, directly or indirectly, of Clark’s tendency toward excess.
Yet it is that youthful enthusiasm that makes him such a lovable
character. Clark adores his family and still finds Christmastime
magical. He wants everyone to share in the joy that he feels. As his big
plans go further and further off the rails, he goes off the deep end,
but it’s hard to imagine how anyone could do otherwise in that
situation. Hence, while almost everything goes wrong in this movie, it
doesn’t really feel like a cynical response to Christmas.
Clark’s heart is as expansive as his yard display, as the scenes he
shares with little Ruby Sue (the adorable Ellen Hamilton Latzen) show
especially well. Similarly, Randy Quaid brings a lot of sweetness to the
role of Ruby Sue’s loose cannon of a dad, Eddie. He may cause everyone a
heap of headaches, but in a pinch, he’s an awfully loyal friend.
I wouldn’t list this movie among my Christmas favorites, but it
definitely has its own oddball charm, and I’ve little doubt that I will
check in with the Griswolds during Decembers yet to come.
Showing posts with label Chevy Chase. Show all posts
Showing posts with label Chevy Chase. Show all posts
Monday, February 4, 2013
Thursday, October 13, 2011
Celebrating Paul Simon's 70th Birthday With Graceland
Today is the 70th birthday of Paul Simon, my favorite living
singer-songwriter. While that is a major milestone for everyone, it’s
particularly significant for Paul, since one of the songs that he wrote
for the lauded Bookends album contained the line, “Can you
imagine us years from today, sharing a park bench quietly? How terribly
strange to be 70…” I knew I wanted to recognize his birthday with a
review, but I covered Bookends years ago, so instead I opted for something from his solo catalog. Graceland,
released in the mid-1980s, is an acclaimed creative experiment
incorporating numerous styles of music, most notably ones from South
Africa. Paul’s focus for this project ended up introducing these types
of music to whole new audiences, and South African vocal group Ladysmith
Black Mambazo gained worldwide attention. When it comes to solo albums,
Graceland is one of the great ones.
The Boy in the Bubble - Forere Motloheloa, who shares composing credits with Paul on this one, plays the accordion that is so pervasive on this track. The synthesizers and pounding percussion also offset Paul’s rather rambling lyrics filled with intriguing images. The peppy, soulful feel of this song sets a tone of musical playfulness and spiritual exploration for the rest of the album. “These are the days of miracle and wonder, this is the long distance call, the way the camera follows us in slo-mo, the way we look to us all, the way we look to a distant constellation that’s dying in a corner of the sky…”
Graceland - Guitars and percussion provide a driving rhythm here that captures the sense of an epic pilgrimage. It reminds me of a locomotive, which feels appropriate for a song about traveling long distances. Demola Adepoju’s pedal steel guitar adds an irresistible flavor to the melody, which communicates a sense of yearning and excitement. The characters in this song, much like those profiled in Slip Slidin’ Away, are broken and in search of renewal. While this is about Elvis Presley’s estate on one level, “Graceland” seems to represent something deeper. The chorus, enhanced by the harmonies of the Everly Brothers, who were such essential influences for Simon and Garfunkel, takes on a profoundly spiritual quality, with the speaker seeking the redemption to be found in a land of grace. “There’s some part of me wants to see Graceland, and I may be obliged to defend every love, every ending, or maybe there’s no obligations now. Maybe I’ve a reason to believe we all will be received in Graceland.”
I Know What I Know - This is a very noisy song co-composed by General M.D. Shirinda and accompanied by the shrill but intriguing vocals of The Gaza Sisters. I don’t know what it is that they’re singing underneath the chorus here, but it seems to fit with the scene the song sets of two people chattering rather mindlessly in the midst of a crowd. I don’t find this one very melodic, but it captures the awkwardness of small talk even between two people who seem to want to get to know each other better. Like Boy in the Bubble, it has a bit of a rambly feel to it, especially when he tosses out the six-syllable word “cinematographer’s.” “She looked me over and I guess she thought I was all right, all right in a sort of limited way for an off-night…”
Gumboots - A very fast-paced song, which makes sense since each verse involves some sort of speedy action – riding in a cab, running at a brick wall, putting the moves on someone you’ve just met. This song, co-composed by Lulu Masilela and Jonhjon Mkhalali, takes its cues from the South African style of jive music known as mbaqanga and is partly performed by the Boyoyo Boys. The accordion returns here, and saxophones get a few bars to themselves in this upbeat number celebrating optimism in the face of defeat. "You don't feel you could love me, but I feel you could."
Diamonds on the Soles of Her Shoes - I’ll always have a soft spot for this song because it was introduced to me by Ian, a classmate who was one of the few people I knew in high school who expressed as deep a fondness for Paul Simon’s music as I did. He brought the recording to class for a presentation one day, and though my familiarity with Paul’s solo work was pretty limited at that point, it always stuck with me. A story of love amid economic disparity, this appealingly repetitive song is the longest on the album by more than a minute. The heavily harmonic a cappella intro that Paul does with Ladysmith Black Mambazo is my favorite part of the song, closely followed by the more instrumental outro, but the rest of the track is great as well, with its almost cacophonous mix of instruments and its persistent percussion. “People say she’s crazy, she’s got diamonds on the soles of her shoes. Well, that’s one way to lose these walking blues.”
You Can Call Me Al - This peculiar but absolutely infectious song is one of my favorites on the album in large part because of that goofy video Paul did with Chevy Chase. It must’ve been ridiculously inexpensive to make since it’s nothing but the two of them in a nearly-empty room, with Paul occasionally picking up instruments but mostly just looking bored while Chevy expressively lip-synchs. It’s got to be about the least complicated music video I’ve ever seen, but it completely cracks me up every time. The song seems to be about a mid-life crisis, with the speaker feeling unsatisfied with the opportunities that have been given to him. The blast of the brass instruments and the sprightly notes of Morris Goldberg’s pennywhistle add musical interest in this popular plea for a more comprehensible life. “If you’ll be my bodyguard, I can be your long-lost pal. I can call you Betty, and Betty, when you call me, you can call me Al.”
Under African Skies - Prolific and eclectic recording artist Linda Ronstadt harmonizes with Paul on this melodic song with an upbeat tone to it. I love the percussion and the way the voices complement each other as he describes two very distinct individuals. It seems to be a tribute to Joseph Shabalala, who shares writing credits with Paul on two songs on the album, and to Ronstadt, each an exceptional musician a world apart from each other but united in their collaboration with Paul on Graceland. “Joseph’s face was black as night. The pale yellow moon shone in his eyes. His path was marked by the stars in the Southern hemisphere, and he walked his days under African skies.”
Homeless - Shabalala co-wrote this eerily beautiful a cappella song that features more Zulu than English. The harmonies are gorgeous, with the deepest voices in Ladysmith Black Mambazo giving the music greater heft. Paul’s voice is only prominent in a small portion of the song; I’m not clear on whether he’s silent the rest of the time or simply overpowered by Shabalala and the strong voices of the rest of the chanting group. This song about loss and isolation is curiously incongruous because of the sense of brotherhood the harmonies create. It becomes an anthem of solidarity and looking out for each other when the tumults of life strike. “Homeless, homeless. Moonlight sleeping on a midnight lake. Homeless, homeless. Moonlight sleeping on a midnight lake.”
Crazy Love Vol. II - This song with the rather perplexing title and a series of odd images – particularly the character Fat Charlie the Archangel – is performed with the group Stimela. It’s a peppy song full of fun instruments and ardent declarations of disinterest. The lyrics to the chorus are very repetitive, but they work well. “I don’t want no part of this crazy love. I don’t want no part of your love.”
That Was Your Mother - A fast-paced song that makes me think of the sitcom How I Met Your Mother, as that seems to be the theme here, rather like the cheerfully nostalgic Neil Byrne song Sadie Jones and I. We have accordion again here, this time played by Alton Rubin, Sr., and Paul is joined by the group Good Rockin’ Dopsie and the Twisters. A fun and rather manic track with a distinct dialect. “Well, that was your mother and that was your father before you were born, dude, when life was great. You are the burden of my generation. I sure do love you, but let’s get that straight.”
All Around the World or The Myth of Fingerprints -Los Lobos contribute to this final track on the album. It’s a very melodic song, and I especially like the vocalizations at the end. This song seems to be touching upon big issues, though I can’t quite figure out what’s he’s talking about with the myth of the fingerprints. Ultimately there seems to be a message in there somewhere about having the guts to start over and try something totally different. “Over the mountain, down in the valley, lives the former talk-show host, and far and wide his name was known. He said there’s no doubt about it. It was the myth of the fingerprints; that’s why we must learn to live alone.”
Arguably the most repeated quote from LOST, my favorite TV show, is “If we can’t live together, we’re gonna die alone.” It’s a statement of intercultural cooperation that seems especially pertinent here. With Graceland, Paul Simon shows listeners both how big and how small the world really is.
The Boy in the Bubble - Forere Motloheloa, who shares composing credits with Paul on this one, plays the accordion that is so pervasive on this track. The synthesizers and pounding percussion also offset Paul’s rather rambling lyrics filled with intriguing images. The peppy, soulful feel of this song sets a tone of musical playfulness and spiritual exploration for the rest of the album. “These are the days of miracle and wonder, this is the long distance call, the way the camera follows us in slo-mo, the way we look to us all, the way we look to a distant constellation that’s dying in a corner of the sky…”
Graceland - Guitars and percussion provide a driving rhythm here that captures the sense of an epic pilgrimage. It reminds me of a locomotive, which feels appropriate for a song about traveling long distances. Demola Adepoju’s pedal steel guitar adds an irresistible flavor to the melody, which communicates a sense of yearning and excitement. The characters in this song, much like those profiled in Slip Slidin’ Away, are broken and in search of renewal. While this is about Elvis Presley’s estate on one level, “Graceland” seems to represent something deeper. The chorus, enhanced by the harmonies of the Everly Brothers, who were such essential influences for Simon and Garfunkel, takes on a profoundly spiritual quality, with the speaker seeking the redemption to be found in a land of grace. “There’s some part of me wants to see Graceland, and I may be obliged to defend every love, every ending, or maybe there’s no obligations now. Maybe I’ve a reason to believe we all will be received in Graceland.”
I Know What I Know - This is a very noisy song co-composed by General M.D. Shirinda and accompanied by the shrill but intriguing vocals of The Gaza Sisters. I don’t know what it is that they’re singing underneath the chorus here, but it seems to fit with the scene the song sets of two people chattering rather mindlessly in the midst of a crowd. I don’t find this one very melodic, but it captures the awkwardness of small talk even between two people who seem to want to get to know each other better. Like Boy in the Bubble, it has a bit of a rambly feel to it, especially when he tosses out the six-syllable word “cinematographer’s.” “She looked me over and I guess she thought I was all right, all right in a sort of limited way for an off-night…”
Gumboots - A very fast-paced song, which makes sense since each verse involves some sort of speedy action – riding in a cab, running at a brick wall, putting the moves on someone you’ve just met. This song, co-composed by Lulu Masilela and Jonhjon Mkhalali, takes its cues from the South African style of jive music known as mbaqanga and is partly performed by the Boyoyo Boys. The accordion returns here, and saxophones get a few bars to themselves in this upbeat number celebrating optimism in the face of defeat. "You don't feel you could love me, but I feel you could."
Diamonds on the Soles of Her Shoes - I’ll always have a soft spot for this song because it was introduced to me by Ian, a classmate who was one of the few people I knew in high school who expressed as deep a fondness for Paul Simon’s music as I did. He brought the recording to class for a presentation one day, and though my familiarity with Paul’s solo work was pretty limited at that point, it always stuck with me. A story of love amid economic disparity, this appealingly repetitive song is the longest on the album by more than a minute. The heavily harmonic a cappella intro that Paul does with Ladysmith Black Mambazo is my favorite part of the song, closely followed by the more instrumental outro, but the rest of the track is great as well, with its almost cacophonous mix of instruments and its persistent percussion. “People say she’s crazy, she’s got diamonds on the soles of her shoes. Well, that’s one way to lose these walking blues.”
You Can Call Me Al - This peculiar but absolutely infectious song is one of my favorites on the album in large part because of that goofy video Paul did with Chevy Chase. It must’ve been ridiculously inexpensive to make since it’s nothing but the two of them in a nearly-empty room, with Paul occasionally picking up instruments but mostly just looking bored while Chevy expressively lip-synchs. It’s got to be about the least complicated music video I’ve ever seen, but it completely cracks me up every time. The song seems to be about a mid-life crisis, with the speaker feeling unsatisfied with the opportunities that have been given to him. The blast of the brass instruments and the sprightly notes of Morris Goldberg’s pennywhistle add musical interest in this popular plea for a more comprehensible life. “If you’ll be my bodyguard, I can be your long-lost pal. I can call you Betty, and Betty, when you call me, you can call me Al.”
Under African Skies - Prolific and eclectic recording artist Linda Ronstadt harmonizes with Paul on this melodic song with an upbeat tone to it. I love the percussion and the way the voices complement each other as he describes two very distinct individuals. It seems to be a tribute to Joseph Shabalala, who shares writing credits with Paul on two songs on the album, and to Ronstadt, each an exceptional musician a world apart from each other but united in their collaboration with Paul on Graceland. “Joseph’s face was black as night. The pale yellow moon shone in his eyes. His path was marked by the stars in the Southern hemisphere, and he walked his days under African skies.”
Homeless - Shabalala co-wrote this eerily beautiful a cappella song that features more Zulu than English. The harmonies are gorgeous, with the deepest voices in Ladysmith Black Mambazo giving the music greater heft. Paul’s voice is only prominent in a small portion of the song; I’m not clear on whether he’s silent the rest of the time or simply overpowered by Shabalala and the strong voices of the rest of the chanting group. This song about loss and isolation is curiously incongruous because of the sense of brotherhood the harmonies create. It becomes an anthem of solidarity and looking out for each other when the tumults of life strike. “Homeless, homeless. Moonlight sleeping on a midnight lake. Homeless, homeless. Moonlight sleeping on a midnight lake.”
Crazy Love Vol. II - This song with the rather perplexing title and a series of odd images – particularly the character Fat Charlie the Archangel – is performed with the group Stimela. It’s a peppy song full of fun instruments and ardent declarations of disinterest. The lyrics to the chorus are very repetitive, but they work well. “I don’t want no part of this crazy love. I don’t want no part of your love.”
That Was Your Mother - A fast-paced song that makes me think of the sitcom How I Met Your Mother, as that seems to be the theme here, rather like the cheerfully nostalgic Neil Byrne song Sadie Jones and I. We have accordion again here, this time played by Alton Rubin, Sr., and Paul is joined by the group Good Rockin’ Dopsie and the Twisters. A fun and rather manic track with a distinct dialect. “Well, that was your mother and that was your father before you were born, dude, when life was great. You are the burden of my generation. I sure do love you, but let’s get that straight.”
All Around the World or The Myth of Fingerprints -Los Lobos contribute to this final track on the album. It’s a very melodic song, and I especially like the vocalizations at the end. This song seems to be touching upon big issues, though I can’t quite figure out what’s he’s talking about with the myth of the fingerprints. Ultimately there seems to be a message in there somewhere about having the guts to start over and try something totally different. “Over the mountain, down in the valley, lives the former talk-show host, and far and wide his name was known. He said there’s no doubt about it. It was the myth of the fingerprints; that’s why we must learn to live alone.”
Arguably the most repeated quote from LOST, my favorite TV show, is “If we can’t live together, we’re gonna die alone.” It’s a statement of intercultural cooperation that seems especially pertinent here. With Graceland, Paul Simon shows listeners both how big and how small the world really is.
Monday, January 14, 2008
Get LOST With Paul Simon in This SNL Christmas Collection
The tree is down, and so are the outside lights and most of the inside
decorations. Holiday compilations are out of the rotation in the CD
player. I almost have Christmas out of my system. Before I let it go, I
have to allow myself a few more Christmas movies from my Netflix queue.
Last week, I treated myself to Saturday Night Live: Christmas Past.
Released in 1999, it contains mostly sketches from the variety show's glory days, with the likes of Dan Aykroyd and Chevy Chase, and later Dana Carvey and Chris Farley. The most recent material includes Molly Shannon and Cheri Oteri. The special clocks in at just over an hour; while it includes 18 amusing skits, I'm sure SNL could easily release another volume, particularly with the inclusion of sketches from the last decade. I'd put in a vote for the obnoxious couple at the Christmas tree lot (2005) and, dare I confess, 2006's phenomenally popular music video starring Andy Samberg and Justin Timberlake. What this collection gives us is a range of material, most of it slightly off-color.
Christmas Eve At The White House - Chevy Chase does his usual Gerald-Ford-is-a-klutz shtick, and it's pretty funny, though extremely ridiculous. In Chase's hands, the poor president can't do anything right; he is unable to follow simple instructions for how to give his Christmas address; he hangs his children's stockings upside-down; he knocks over the Christmas tree. Pure slapstick, and bearing very little resemblance, I'm sure, to the real guy.
Opening Montage - Bill Murray does an opening monologue, and when Santa (Dan Aykroyd) shows up, he has all sorts of great stuff to say about him. Nothing objectionable about this one, but it seemed very short.
Mr. Robinson's Neighborhood on Christmas - I'm not sure I want this guy as my neighbor. Eddie Murphy spoofs Mr. Rogers in a ghetto version of the beloved man in the sweater. Actually, he's everything Mr. Rogers isn't, as he demonstrates when, clad in a Santa suit, he opens his sack of stolen toys and confides his plan to make a killing by ringing a bell and holding out a Salvation Army kettle. Murphy is a funny guy, but I'm not sure this one sits so well with me...
Delicious Dish - The two most boring women on the planet (played by Molly Shannon and Ana Gasteyer) host a holiday edition of their NPR cooking show. Their special guest is a baker (Alec Baldwin) with the last name Schwetty whose specialty is "balls". You know, like Russian tea cakes and doughnut holes. It's ever so benign, but the three take the opportunity to cram as much innuendo into one sketch as they possibly can. I think I saw this one live; certainly it's shown up in a bunch of SNL clip shows. It's Austin Powers-style naughty.
Church Chat - Dana Carvey is the persnickety "Church Lady" who invites guests onto her show just to scold them. Pretty funny, especially since I definitely know a few people like that. After two guests, one of them Danny Devito as himself, get a stern tongue-lashing, the Church Lady rocks out on the drums, and Devito does some festive singing.
Martha Stewart's Topless Christmas Special - This bizarre segment features Ana Gasteyer as Martha Stewart, cheerfully instructing anyone who cares to listen on the finer points of merrymaking, such as making a ludicrously complicated table decoration, though of course she claims that it's simple. For the most part, though, the humor derives from the fact that she is conducting her entire show topless (with a strategically placed black bar, of course). Um... why?
Hannukah Song - Ah, finally we're getting to the really good stuff. My second-favorite segment on the DVD, this has Norm McDonald at the news desk introducing Adam Sandler, who strums his guitar and sings a career-making song about all the famous people who are Jewish, so as to help Jewish kids to feel a little less left out around Christmastime. Funny, informative, even somewhat touching, this one is a winner, and I always turn up the volume when it comes on the radio in December.
A Holiday Wish - Steve Martin sits in a cozy easy chair and expounds upon what he would ask for if he had just one wish for Christmas. It starts out very warm and fuzzy but quickly degenerates as he adds more and more wishes, each less sentimental than the last. With a bit of a 12 Days of Christmas feel to it - though, thankfully, he stops long before 12 - this is dryly amusing but also considerably crass.
Matt Foley: Motivational Speaker - Phil Hartman hires Matt Foley (Chris Farley) to be the Santa in his shopping mall. I've been subjected to many skits in this series, and all of them give me a headache. Farley's vocal delivery makes me want to hit "mute" after a few seconds. My brother Nathan thought this one, which featured Sally Field as a furious mom and a slew of kids - an unusual sight on SNL - was hilarious, but I wasn't too impressed, aside from the rather clever way he managed to work his "van down by the river" shtick into a Visit From St. Nicholas-style Christmas story.
Consumer Probe - This one, however, had me laughing quite a bit. Candace Bergen grills a slimy toymaker played by Dan Aykroyd about the dangerous toys his company continues to make, while he tries to point out their value and convince her that even the most innocent of toys could potentially result in injury. Very funny.
Lost Ending of It's A Wonderful Life - It's William Shatner! But not for long. He merely introduces this missing ending of the Frank Capra classic. While the cast members do a pretty good job of imitating the various characters from that movie, it kinda takes the warm fuzzies out of it when George (Dana Carvey) leads the rest of the townsfolk in an angry mob against that nasty old man who stole his money.
Santa Wrap - This looks like something that could have been on American Inventor. Dan Aykroyd explains the advantage of Santa wrap, which he applies to the most unsanitary lap of a grossly inebriated mall Santa (John Belushi). A rather entertaining little commercial.
The Nigh Hannukah Harry Saved Christmas - Jon Lovitz as Hanukah Harry fills in for Santa, who is sick. A jovial fellow, he is nonetheless received with some disappointment by a pair of eagerly waiting kids when he gives them rather dull Jewish-themed gifts instead of the toys they were expecting. But it ends on a fairly heartwarming note when Santa comes anyway and the kids decide that Harry, too, is worthy of appreciation.
Deserted Island Christmas - I would have been very disappointed if this hadn't been included. In fact, it was the main reason I rented the DVD. I saw this on a television Christmas special once, and I absolutely adored it. Paul Simon? Desert island? Talk about a winning combination! He and Victoria Jackson are a couple stranded for Christmas, but they don't care too much. They're going to make a celebration of it anyway, and Paul feels rather pleased with himself over the potholders he's made and the fancy shells he's found as gifts for his ladylove... until she reveals an exquisite handmade watch and telescope and details how she managed to create them. Sweet and hilarious.
Winter Wonderland - Fun group song. Everybody gets involved, and as the ladies and gentlemen battle it out with their harmonies, it grows more and more chaotic.
Dysfunctional Family Christmas - More musical merriment, though it offers an awfully bleak view of the holidays. Phil Hartman and the gang advertise a collection of songs celebrating the darker side of Christmas.
Rita From Brooklyn - Outrageous New York accents rule the day as Cheri Oteri, Rosie O'Donnell and Penny Marshall duke it out over their lawn decorations until a group of caroling children change their perspective. Pretty funny.
Master Thespian - Almost a rehash of Matt Foley, with Jon Lovitz in the Santa suit instead this time. Phil Hartman is the mall manager again, and once more he finds he's got a little more than he bargained for with this overdramatic St. Nick. I like it better than the Chris Farley one, but it might have been nice to end the disc on something a little less repetitive.
All told, it's a moderately entertaining collection, but the crude nature of most of the sketches makes it a DVD I wouldn't go out of my way to include in the yearly holiday rotation. If you've ever gotten a laugh out of SNL, though, give it a shot. For my money, it's worth a look just for Deserted Island Christmas. Now if they only could have gotten Paulie to sing the Gilligan's Island theme song...
Released in 1999, it contains mostly sketches from the variety show's glory days, with the likes of Dan Aykroyd and Chevy Chase, and later Dana Carvey and Chris Farley. The most recent material includes Molly Shannon and Cheri Oteri. The special clocks in at just over an hour; while it includes 18 amusing skits, I'm sure SNL could easily release another volume, particularly with the inclusion of sketches from the last decade. I'd put in a vote for the obnoxious couple at the Christmas tree lot (2005) and, dare I confess, 2006's phenomenally popular music video starring Andy Samberg and Justin Timberlake. What this collection gives us is a range of material, most of it slightly off-color.
Christmas Eve At The White House - Chevy Chase does his usual Gerald-Ford-is-a-klutz shtick, and it's pretty funny, though extremely ridiculous. In Chase's hands, the poor president can't do anything right; he is unable to follow simple instructions for how to give his Christmas address; he hangs his children's stockings upside-down; he knocks over the Christmas tree. Pure slapstick, and bearing very little resemblance, I'm sure, to the real guy.
Opening Montage - Bill Murray does an opening monologue, and when Santa (Dan Aykroyd) shows up, he has all sorts of great stuff to say about him. Nothing objectionable about this one, but it seemed very short.
Mr. Robinson's Neighborhood on Christmas - I'm not sure I want this guy as my neighbor. Eddie Murphy spoofs Mr. Rogers in a ghetto version of the beloved man in the sweater. Actually, he's everything Mr. Rogers isn't, as he demonstrates when, clad in a Santa suit, he opens his sack of stolen toys and confides his plan to make a killing by ringing a bell and holding out a Salvation Army kettle. Murphy is a funny guy, but I'm not sure this one sits so well with me...
Delicious Dish - The two most boring women on the planet (played by Molly Shannon and Ana Gasteyer) host a holiday edition of their NPR cooking show. Their special guest is a baker (Alec Baldwin) with the last name Schwetty whose specialty is "balls". You know, like Russian tea cakes and doughnut holes. It's ever so benign, but the three take the opportunity to cram as much innuendo into one sketch as they possibly can. I think I saw this one live; certainly it's shown up in a bunch of SNL clip shows. It's Austin Powers-style naughty.
Church Chat - Dana Carvey is the persnickety "Church Lady" who invites guests onto her show just to scold them. Pretty funny, especially since I definitely know a few people like that. After two guests, one of them Danny Devito as himself, get a stern tongue-lashing, the Church Lady rocks out on the drums, and Devito does some festive singing.
Martha Stewart's Topless Christmas Special - This bizarre segment features Ana Gasteyer as Martha Stewart, cheerfully instructing anyone who cares to listen on the finer points of merrymaking, such as making a ludicrously complicated table decoration, though of course she claims that it's simple. For the most part, though, the humor derives from the fact that she is conducting her entire show topless (with a strategically placed black bar, of course). Um... why?
Hannukah Song - Ah, finally we're getting to the really good stuff. My second-favorite segment on the DVD, this has Norm McDonald at the news desk introducing Adam Sandler, who strums his guitar and sings a career-making song about all the famous people who are Jewish, so as to help Jewish kids to feel a little less left out around Christmastime. Funny, informative, even somewhat touching, this one is a winner, and I always turn up the volume when it comes on the radio in December.
A Holiday Wish - Steve Martin sits in a cozy easy chair and expounds upon what he would ask for if he had just one wish for Christmas. It starts out very warm and fuzzy but quickly degenerates as he adds more and more wishes, each less sentimental than the last. With a bit of a 12 Days of Christmas feel to it - though, thankfully, he stops long before 12 - this is dryly amusing but also considerably crass.
Matt Foley: Motivational Speaker - Phil Hartman hires Matt Foley (Chris Farley) to be the Santa in his shopping mall. I've been subjected to many skits in this series, and all of them give me a headache. Farley's vocal delivery makes me want to hit "mute" after a few seconds. My brother Nathan thought this one, which featured Sally Field as a furious mom and a slew of kids - an unusual sight on SNL - was hilarious, but I wasn't too impressed, aside from the rather clever way he managed to work his "van down by the river" shtick into a Visit From St. Nicholas-style Christmas story.
Consumer Probe - This one, however, had me laughing quite a bit. Candace Bergen grills a slimy toymaker played by Dan Aykroyd about the dangerous toys his company continues to make, while he tries to point out their value and convince her that even the most innocent of toys could potentially result in injury. Very funny.
Lost Ending of It's A Wonderful Life - It's William Shatner! But not for long. He merely introduces this missing ending of the Frank Capra classic. While the cast members do a pretty good job of imitating the various characters from that movie, it kinda takes the warm fuzzies out of it when George (Dana Carvey) leads the rest of the townsfolk in an angry mob against that nasty old man who stole his money.
Santa Wrap - This looks like something that could have been on American Inventor. Dan Aykroyd explains the advantage of Santa wrap, which he applies to the most unsanitary lap of a grossly inebriated mall Santa (John Belushi). A rather entertaining little commercial.
The Nigh Hannukah Harry Saved Christmas - Jon Lovitz as Hanukah Harry fills in for Santa, who is sick. A jovial fellow, he is nonetheless received with some disappointment by a pair of eagerly waiting kids when he gives them rather dull Jewish-themed gifts instead of the toys they were expecting. But it ends on a fairly heartwarming note when Santa comes anyway and the kids decide that Harry, too, is worthy of appreciation.
Deserted Island Christmas - I would have been very disappointed if this hadn't been included. In fact, it was the main reason I rented the DVD. I saw this on a television Christmas special once, and I absolutely adored it. Paul Simon? Desert island? Talk about a winning combination! He and Victoria Jackson are a couple stranded for Christmas, but they don't care too much. They're going to make a celebration of it anyway, and Paul feels rather pleased with himself over the potholders he's made and the fancy shells he's found as gifts for his ladylove... until she reveals an exquisite handmade watch and telescope and details how she managed to create them. Sweet and hilarious.
Winter Wonderland - Fun group song. Everybody gets involved, and as the ladies and gentlemen battle it out with their harmonies, it grows more and more chaotic.
Dysfunctional Family Christmas - More musical merriment, though it offers an awfully bleak view of the holidays. Phil Hartman and the gang advertise a collection of songs celebrating the darker side of Christmas.
Rita From Brooklyn - Outrageous New York accents rule the day as Cheri Oteri, Rosie O'Donnell and Penny Marshall duke it out over their lawn decorations until a group of caroling children change their perspective. Pretty funny.
Master Thespian - Almost a rehash of Matt Foley, with Jon Lovitz in the Santa suit instead this time. Phil Hartman is the mall manager again, and once more he finds he's got a little more than he bargained for with this overdramatic St. Nick. I like it better than the Chris Farley one, but it might have been nice to end the disc on something a little less repetitive.
All told, it's a moderately entertaining collection, but the crude nature of most of the sketches makes it a DVD I wouldn't go out of my way to include in the yearly holiday rotation. If you've ever gotten a laugh out of SNL, though, give it a shot. For my money, it's worth a look just for Deserted Island Christmas. Now if they only could have gotten Paulie to sing the Gilligan's Island theme song...
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