By Luke Hinton
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Any adaptation of Charles DickensÔÇÖ A Christmas Carol needs to do something very different to get noticed.
Aside from the original 1843 novel, countless retellings of the classic story have found incredible success, with The Muppet Christmas Carol and Robert ZemeckisÔÇÖ 2009 animation springing to mind, making it almost impossible to find a niche in telling a story thatÔÇÖs been done so many times, and so well. Yet co-directors Jacqui and David MorrisÔÇÖ interpretation is visually enthralling, entertaining and, most of all, unique.
The first thing that makes A Christmas Carol (this film, not the book) special is the format within which the Morris siblings tell the story ÔÇô opting for interpretive dance over DickensÔÇÖ dialogue and description. ItÔÇÖs a very bold way of retelling the story, that works fantastically, with poetic choreography and stunning set design that gives the plot an artful slant wherein the dance peels back further the emotional layers behind characters and events. It peers behind the dialogue to add another dimension to the narrative, but it doesnÔÇÖt just feel like a stage play filmed for the big screen: the cinematography is elegant; the camera gliding around the sets as the dancers, choreographed by Russell Maliphant, emote beautifully.
And yet equally impressive is the array of vocal talent that complements the visual storytelling. In a cast peppered with A-list stars, the most frequent voice is that of Martin Freeman (The Hobbit), here playing ScroogeÔÇÖs clerk, Bob Cratchit. ItÔÇÖs an understated performance ÔÇô he isnÔÇÖt in it much, as anyone whoÔÇÖs familiar with the story knows ÔÇô but he brings an engaging likability to a character that arguably forms the moral crux of the story: if not for ScroogeÔÇÖs sympathy for CratchitÔÇÖs family, the whole narrative would fall apart. Yet the best vocal performance is easily Daniel Kaluuya (Get Out), who takes on the voice of the reimagined Ghost of Christmas Present, now cast as a black man (a stunning, elegant Mikey Boateng), in a spin that updates the story by adding new contexts to the class division that forms the novelÔÇÖs thematic pivot. Kaluuya perfectly complements BoatengÔÇÖs dancing, with a vivacity and undeniable swagger that proves really gripping.
A Christmas Carol (again, this film) feels so necessary. No adaptation of such a fabled novel will survive unless it has a unique spin ÔÇô weÔÇÖve had more than enough drab interpretations over time ÔÇô but the Morris siblings really inject new life into the story, with a fantastic cast and an innovative creative slant that preserve the wonder of DickensÔÇÖ original.
ItÔÇÖs a much-welcomed breath of fresh air into the classic Christmas tale, and a must-watch for this yearÔÇÖs festive season.
A Christmas Carol will be available to watch in cinemas and theatres on 4th December. You can buy tickets here: https://www.achristmascarol2020.film/
This review was originally published here on That Film Blog UK, but has been kindly allowed for republishing on our section.