On the Third Day of Christmas(Wink): Joyeux Noel (2005) 9.25, 10, 9.5, 28.75

          Before I begin to discuss the film at hand, I should briefly mention that I saw Elysium this week when my brother got it from Redbox. I don't mean to lay the blame at his feet. I wanted to see it, but didn't want to watch it now, busy with Christmas movies and all. I can only say that I was disappointed at its naivete and transparency. It is a paper-thin allegory for universal healthcare.
          Its primary problem is it sets up a very different kind of world from the one we live in. In this world, all healthcare is cheap, simple, and easy with no need for trained professionals or really anything, but machines so plentiful that the rich merely have these magical panacea machines in their homes, lying empty most of the time. If only those evil billionaires would allow the helpless working poor to use their magic machines. Its tacky in a world where healthcare is not a problem of class warfare or rampant injustice, but a real world problem with causes that amount to more than greed and politics, but include wealth and logistics. I'll say no more, but it gets 3 stars. Matt Damon can still do shock and awe.
          Now on to the main event, Joyeux Noel. First off, I'd like to discuss how much more painstaking this process has become. In my determination to be more careful with my reviews, I have to take every .25 I've given before with a grain of salt, as I compare this film to others I've reviewed. It takes longer to make these decisions. I compared JN to nearly every film I've ever rated in wonder to make sure I got it right. I'm still not sure.
          To wit. I gave this film a 9.25. Here's my reasoning. First, the opening nearly brought me to tears. It opens on three children from the three represented countries of the Western Front; Britain, France, and Germany; reciting very real poems about genocidal hatred for their enemy. It reminds us of the propaganda propagated by all sides in this conflict that created the animosity necessary to justify this world war.
          This film is overall marked not by great lines, but by great incidents. Whether it's the excited Scots announcing the beginning of war to an older priest who knows enough to be wary or the German soldier interrupting an opera to give a message from the Kaiser or German and French officers exchanging stories from the same street in Paris, this film has some of the best scenes I've ever seen marked by no particularly memorable dialogue.
          In fact, the overall evenness of tone and charisma in this film is one of its most remarkable features. There are moments of high piety and moments of simple hilarity, but the film is never low or vulgar and never sentimental. In moments that could have been sappy, like a French officer telling his own father that he is a grandfather, they manage to keep the film on track and on message. Men tear up, but the film doesn't cheapen it with a musical deathblow. This is most notable, because the film has great music, but they never use it for emotional momentum.
          As far as wisdom goes, this is where they shine. They make there point beautifully, but the point itself is a beautiful one. Instances of goosebumps abound.
          First, this film is obviously a critique of World War I and all the conflict did and meant. I agree who his wholeheartedly but it is not an original point. The greater point is a critique of the propaganda and misanthropy that accompanies war in general. It helps that the story is true. If this story had not happened, it might be naive or childish to invent it. But here we find a story of humanity triumphing over the enforced power of institutional hate.
          Over and over, the point is made how much these sides distrust each other. They insist well into the story that the other side is trying to trick them, lull them to sleep to slit their throats. But genuine fellowship between people breeds a simple love. Intimate knowledge and humor break down walls and the recognition of each others humanity destroys the ability to wage war.
          The most important part of this for me is the scathing critique of pro-war religion. The insistence of those people who simplify conflict that is often more complicated and the genocidal aspect is laid bare and allowed to speak and sicken for itself. This message could hardly be more important now.
          The most important aspect of this for me is the frightful circumspection of the film in general. It is never one-sided or simplistic. It first ignores any tendency to imagine WWI as a righteous cause for either side, but continues to acknowledge the various sides of war itself. It recognizes that genuine knowledge of the demonized other creates a kind of kinship and also recognizes that the inhumanity of war can destroy our ability to empathize at all. It sees hope in a group of soldiers laying down arms over Christmas and recognizes that one game of football or mass won't end war and that nothing about war is simple. I can't remember a moment when it insists on a point without recognizing the complications and nuances involved.
          For wonder, it received a 9.5 as well. This film is exceptional for its music, for one primary reason. As mentioned earlier, it does not abuse the power. Music is never used here to pump up an otherwise dull scene. It is almost noticeably absent in key moments. But music is used to great effect as the means of initiating the movement of two disparate groups to each other. The Scottish happened and the German opera singers and the French wind instrumentalists combine to perform fantastic music, organic to the story, that sets the tone for this film. An overall theme for this film is the restraint shown by the filmmakers in using powerful tools with skill and precision.
          I am always one for the classics and this film will have hard battle to do to beat out It's a Wonderful Life or Miracle on 34th St., by this film might someday be my very favorite Christmas movie.
          Be well and happy Nativity!