Henry Winkler swapped Fonzie’s leather jacket for a miser’s coat in An American Christmas Carol, a Depression-era twist on Dickens, writes DAVID SAUNDERSON
TITLE: An American Christmas Carol
RELEASED: 1979
CAST: Henry Winkler, Dorian Harewood, Susan Hogan
DIRECTOR: Eric Till
Review of An American Christmas Carol 1979
When you hear the name “Slade”, you might think of the rock band blasting out “Merry Christmas Everybody”.
But in 1979, Henry Winkler gave the name a different ring in An American Christmas Carol, a US TV adaptation that swapped Dickensian London for Depression-era New England.
Instead of Ebenezer Scrooge, we get Benedict Slade, a ruthless loan shark who could put old Scrooge to shame.
Winkler, still filming top-rating TV show Happy Days as the ultra-cool Arthur “The Fonz” Fonzarelli, found himself in a very different role – an old miser closing in on his comeuppance.
As Slade stomps through a struggling New England town, foreclosing on homes and businesses, it’s clear he’s a man with little love for Christmas cheer. But three ghostly visitors are about to change that, as they always do.
Despite its roots as a made-for-TV movie, An American Christmas Carol makes the most of its Depression-era setting.
The film paints a picture of a harsh, unforgiving world, capturing the mood of the time with its shadowy, dimly lit interiors and snow-swept streets.
The atmosphere is undeniably American, tinged with the grit and desperation of the 1930s – a compelling twist on the usual Victorian gloom.
Winkler admitted he was nervous about taking on such a legendary character, and you can see that tension in his performance.
At just 34, he was heavily made-up to look much older, and while the prosthetics might not be convincing, his effort is.
He brings a surprising vulnerability to Slade, offering a take that’s sincere, if not exactly memorable. His transformation from cold-hearted to contrite is slower than most, but perhaps that’s the point – showing a harder heart is tougher to crack.
Director Eric Till’s approach is straightforward, lacking the flair of some of the more beloved versions but sticking faithfully to the core of Dickens’ tale.
The ghosts of Christmas Past, Present, and Future make their appearances with modest but effective special effects, keeping things grounded.
The film is missing the grandiose production values of the Alastair Sim classic, Scrooge, from 1951 or the imaginative brilliance of The Muppet Christmas Carol from 1992. Still, it retains a peculiar charm that is all its own.
When it comes to adaptations, Dickens’ A Christmas Carol has seen it all. There’s the 1970 musical Scrooge starring Albert Finney, the hilarious modern retelling in Scrooged with Bill Murray, and even the recent Ryan Reynolds and Will Ferrell spin on it, Spirited.
Each version brings a fresh twist to the familiar tale, proving its endless adaptability. An American Christmas Carol joins this festive line-up with a unique setting and a slightly slower pace, reflecting the bleakness of its era.
It’s fascinating to see how this story morphs with each adaptation, fitting into different contexts and time periods while maintaining its timeless appeal.
While this version may not have the same charm or magic as some of its peers, it’s worth watching for its unique angle – where else will you see Henry Winkler, best known for his “ayyy”-inducing antics as the Fonz, trying to bring a bit of Dickensian spirit to America’s struggling heartland?
In the end, An American Christmas Carol won’t be the top pick for most, but it’s a reminder that you can bend and stretch Dickens’ classic in countless ways – whether you’re in Victorian London, a Muppet-filled fantasy, or even a snowy American town with a miser named Slade.
It might not be as toe-tapping as Slade’s “Merry Christmas Everybody,” but it has its own peculiar warmth for those who seek it out.
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