Christmas Holiday (1944)

A young femme fatale-type woman realizes that the wealthy man she married is an incorrigible wastrel.

Director: Robert Siodmak
Cast: Deanna Durbin, Gene Kelly, Richard Whorf, Dean Harens, Gladys George, Gale Sondergaard, David Bruce, Eddie Acuff, Fred Aldrich, Frank Austin, Vangie Beilby, John Berkes, Oliver Blake, Charles Cane, Ruth Cherrington, James Conaty, Heinie Conklin, Joseph Crehan, Louise Currie, Richard Davies, Neal Dodd, Eddie Dunn, Jim Farley, Clyde Fillmore, James Flavin, John Hamilton, Robert Homans, Arthur Stuart Hull, George Irving, Charles Jordan

An army lieutenant (Dean Harens), recently jilted by his fiancée, finds himself introduced to a New Orleans bordello by a drinking companion. Here he meets singer Jackie Lamont (Deanna Durbin) - a woman with a dark past and an even darker secret…

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DEANNA DURBIN begged Universal to let her play a dramatic role after her great success in a string of mostly mediocre films where she played a Little-Miss-Fixit in featherweight romantic comedies who sang operatic ditties with great skill and charm. She was always involved in a scheme to reunite her mother and father for the final clinch.

Here, she handles her very adult role with competence, quite believable as a torch singer in a disreputable nightclub, a troubled woman seeking redemption for problems in her twisted past relationships with a mother and son (GALE SONDERGAARD and GENE KELLY).

Deanna shines in the role, giving it shades of both simplicity and charm while playing the happy bride, but convincing when she becomes the bruised and fragile woman who manages to tell her tale of woe to a young lieutenant. The soldier is nicely played by DEAN HARENS, an officer on Christmas leave who is on his way to San Francisco when a storm forces his plane to land in New Orleans.

The film structure is not always smooth, burdened as it is by a couple of flashbacks in the middle and a rather weak ending that is over too abruptly. But Robert Siodmak and cameraman Woody Bredell give the whole piece a fluid style with long tracking shots and superior cinematography for several key scenes, notably the one that takes place at a church service on Christmas eve, and another in a concert hall.

Durbin's fans will certainly appreciate her rendering of "Spring Will Be A Little Late This Year" and Irving Berlin's haunting ballad "Always." The background music, a mixture of popular songs and classical pieces, is effective, especially for all of the nightclub scenes. Hans J. Salter deservedly won an Oscar nomination for his detailed and meticulous score.

Effective supporting performances from GALE SONDERGAARD, GLADYS GEORGE and RICHARD WHORF strengthen the tale. Well worth watching. Oddly enough, Deanna handles her dramatic chores in much better style than Gene Kelly, who's unable to do much with his role of a weak-willed wastrel who turns to crime for reasons unexplained.

Trivia note: David Bruce has a small role at the beginning. Two years later he'd be co-starring with Deanna in much bigger parts in CAN'T HELP SINGING and LADY ON A TRAIN.
~ Neil Doyle

Don't be fooled by the title. Christmas Holiday is a far, far cry from It's a Wonderful Life. Told in flashback, the story begins as Jackie (Deanna Durbin), marries Southern aristocrat Robert Monette (Gene Kelly). Unfortunately, Robert has inherited his family's streak of violence and instability and soon drags Jackie into a life of misery. When her husband commits murder, Jackie is compelled by Robert's equally degenerate mother (Gale Sondergaard) to cover up the crime. When Robert is arrested, Jackie, tormented by the love she still holds for her husband, runs away from the family home, changing her name and securing work as a singer in a New Orleans dive. Robert escapes from prison and makes his way to Jackie's dressing room. Holding a reporter hostage, he threatens to kill both Jackie and the waylaid sailor who has been listening to her story. An astonishing change of pace from Deanna Durbin's usual lightweight musical fare, Christmas Holiday (based, believe it or not, on a story by W. Somerset Maugham) is one of the bleakest film noirs of the 1940s. Durbin is merely adequate in her role, but Gene Kelly gives a disturbingly convincing portrayal as a man virtually devoured by his inner demons. Robert Siodmak directs with his usual flair, using a taut, suspenseful screenplay by Herman J. Mankiewicz.
~ Hal Erickson, Rovi

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