Review
Christmas culture
Culture
5 min read

Five Christmas films to revel in

Haunting, salving, teary, side-splitting and glorious - our recommended festive films.
Muppet characters dressed as Dickensian characters stand in a snowy street.
'Dickens made the fatal error of not putting Muppets into his story.'

‘Tis the season to be jolly and watching a good film with a cup of tea and a biscuit, while the freezing wind and rain whip at the window, can be one of the jolliest things you can do this year. The genre of ‘Christmas’ has only grown and grown over the decades, so if you’re stumped by the myriad of choices – often dreadful schlock that feature the word ‘Prince’ and ‘Christmas’ in the title superimposed over a picture of two ludicrously attractive people staring lovingly into each other’s eyes in a blizzard – take comfort in my Top 5 Christmas films. 

Note – this is my top 5. My personal top 5. These are not the ‘best’ Christmas films. You will not find It’s a Wonderful Life on here. It is glorious and lovely, but I saw it too late in life, and just don’t emotionally resonate with it as much as other Christmas films. I will not apologise. You will not see Die Hard. It is indeed and iconic action film, with a superb Alan Rickman performance, and it is indeed set at a Christmas party…but that isn’t enough to make it a ‘Christmas film’. I WILL NOT APOLOGISE! 

5. The Nightmare Before Christmas 

An animated scene shows a grandmother readng a story to children on her lap in front of a fire.

I would have put this film higher up the list if not for the fact that it straddles two seasons – All Hollows and Christmas. This film is iconic, however. The stop-motion animation gives the whole affair an extra haunting air. The music is superb – I still find myself humming What’s This every few weeks. The story is unhinged (what else do you expect from Tim Burton?) but to just the right degree, and behind the ghoulish setting and mad-cap story there is a good old-fashioned moral-of-the-story for children and adults alike to enjoy. Nightmare is a marvellous reminder of what it means to have the Christmas spirit, and the great thing about it is that it’s a film you can enjoy any time from October 31st! 

4. Bad Santa

A dishevelled looking Santa, without a beard, stares to the side.

Billy Bob Thornton is mesmerising as an ‘eating, drinking, sh***ing, f***ing Santa Claus’. This is not one for the kids! Thornton’s Willie T. Soke is a professional thief who, with his dwarf assistant, get jobs as a grotto Santa and Elf in shopping malls during the festive season so as to case the place and rob it…but this time is different. Soake’s degeneracy has become a serious liability, and his instability and vulgar sexual exploits catch the attention of John Ritter’s mall manager and Bernie Mac’s security chief. Soake is spiralling out of control, but perhaps a romantic relationship with Lauren Graham’s barmaid and a chance encounter with a vulnerable young boy (to whom Soake becomes the least appropriate father-figure) might just be his salvation, and teach him the spirit of Christmas. The script is jet-black funny, and all the performances are spot on – although this is entirely Thornton’s film to shine in. Lewd, rude, and crude, but with a heart of gold (deep down under all the effing and jeffing), this film is the perfect antidote for those who find the jollity of the festive season a little twee. 

3. The Holiday

A couple, wrapped up in winter clothes, flirt with each other.

This film has Jude Law in it. This ought to be enough to commend it to you, but I’ll go further. This film has Jude Law playing a jumper-wearing widowed single-dad, who can turn the humble napkin into a delightful children’s entertainment, and who gives smouldering glances across a crowded pub. Before you all rush out to watch it, let me finish the blurb. Cameron Diaz and Kate Winslett are two women, unlucky in love, who decide to swap homes for the Christmas holiday. Winslett is escaping a toxic infatuation and finds solace in a friendship with a nonagenarian scriptwriter from the Golden Age of Hollywood, and a possible romance with Jack Black (giving a genuinely restrained and enjoyable performance). Workaholic Diaz is desperate to learn how to switch-off, relax, and maybe give love a chance. She finds solace in…Jude Law’s many lovely jumpers and smouldering glances. This is not a film to be described but experienced. Its camp and frothy and silly, but its also just really lovely and gets the tears going every time. If my recommendation isn’t enough, listen to my wife – watch this film over Christmas!  

2. The Muppet Christmas Carol

Kermit, a frog talks to rats dressed as Victorian children.

It’s a well-known fact that you can’t improve upon the indominable prose of Charles Dickens…WRONG! Dickens made the fatal error of not putting Muppets into his story. Rizzo and Gonzo take on the role of narrators of the story, Kermit does a sparkling turn as Bob Cratchit, and Michael Cain stars as the best on screen iteration of Scrooge (go on, fight me on this!). It’s the well-worn story brought to life by glorious songs – every year I start to sing “Tis the season to be jolly and joyous” to myself – a side-splitting script, and a clear and tender reverence for the original story and its central message. I defy anyone, child or adult, to sit through to the end this wonderful film and not want to keep Christmas in their heart every day. If you don’t like this film then I can only guess that you’ll be visited by ‘Marley and Marley, WOOOOOOOOOOA’! 

1. Love Actually

A women rubs her eye, close to tears.

Richard Curtis is my favourite director. Every film of his, however flawed (and there a several flaws in Love Actually), is so warm-hearted and good-natured that I can’t help but love them. Love Actually is Curtis firing on all cylinder: a painfully funny script, an ensemble cast of Britain’s finest talent, and a score that plays your emotions like a fiddle. A series of interconnecting love stories – love found, love lost, unrequited love, misdirected love – playing out in the run-up to Christmas, this film will not fail to put a tear in your eye and smile on your face. At times it’s a little too ‘laddy’ – I’m looking at you American sexcapade storyline – and the fact that all these people live in gorgeous houses in Wandsworth in spite of doing no discernible work is infuriating, but the fact that it is number one on this list in spirt of this is mark of just how strong a film it is. The cast list alone puts it at the top: Hugh Grant, Colin Firth, Alan Rickman, Liam Neeson, Chiwetel Ejiofor, Bill Nighy, Rowan Atkinson popping in for a bit…EMMA THOMPSON! The raw power of Emma Thompson quietly weeping as she listens to Joni Mitchell and contemplates the implosion of her marriage is stunning to behold. At its heart, it is a simple Richard Curtis film; it wants the viewer to relax in the beautiful spectacle of love, and to know that they are loved. I love Love Actually, and Love Actually loves me. 

EMMA THOMPSON! 

Interview
Culture
Death & life
S&U interviews
8 min read

Rediscovering 'ordinary dying'

On the eve of her Theos annual lecture on 'Death for Beginners', Robert Wright speaks to former palliative care consultant Kathryn Mannix about the need for everyone to re-engage with the process of dying. Part of the Seen & Unseen How to Die Well series.

Robert is a journalist at the Financial Times.

 

A woman stands in an autumnal-looking park, with her hands in her pockets
Katherine Mannix.

Shortly after the late Queen Elizabeth died, in September last year, Kathryn Mannix, a former palliative care doctor, decided to point out something that had been going unremarked. Mannix, who spent 30 years in various palliative care roles in the North of England until retiring in 2016, wrote on the social media platform then called Twitter that the world had watched the late monarch live through a process that she called “ordinary” dying. But, she added, the dying had gone “unspoken, un-named”. 

Mannix’s 12-post thread pointing out what the world had been watching was to prove one of the most successful steps yet in her long-running campaign to refamiliarise the world with how people die, the signs that someone is dying and how the process works. The thread has been viewed several million times. Among the replies to her post, according to Mannix, were several from people saying they recognised from it that relatives were going through the process and they should prepare. 

Mannix hopes that her efforts will ensure people learn to cope better with their own and others’ inevitable deaths in ways that work better both medically and emotionally. 

“The queen’s death was no surprise to those of us who have been watching that process that we recognise as ordinary dying,” Mannix says, in an interview over lunch in Newcastle, near her Northumbria home. 

“The person got into hospital to have treatment to stop them from dying. When they died, that was a medical failure. That was an embarrassment.” 

Mannix will take another substantial step in her campaign on November 1 when she delivers the annual lecture for the religious think-tank Theos on Dying for Beginners. The lecture will revisit the lessons of her thread about the queen and two successful books about dying: With the End in Mind, recounting the lessons of her career in palliative care, and Listen, about finding the words for end-of-life conversations. All of her work has stressed the unhelpful aspects of medical practitioners’ increasing involvement in deaths. Doctors’ increasing power to prevent death in many circumstances and delay it in others has made it, in her view, damagingly unfamiliar. 

However, Mannix insists that, while the November 1 lecture has been organised by a faith-based think-tank, her principles are applicable whether people understand their lives through a spiritual prism or via something else like family, politics or art. 

“There are a number of constructs that give people meaning,” Mannix says. 

At the heart of Mannix’s message is the idea that death was once a familiar process that people knew how to manage. She argues that the last century’s medical advances changed that. 

“I think we’ve forgotten because over the course of the twentieth century life expectancies nearly doubled,” Mannix says. 

She points to a range of factors behind the shift, from improved sanitation and vaccination programmes to the founding in the UK of the National Health Service and the introduction of antibiotics. 

She dates the shift of dying from home to hospital to the second half of the twentieth century. 

“It was almost like dying was kidnapped inside hospitals then,” she says. “The process itself got slightly distorted by the medical interventions like intensive care units, so the process became less recognisable.” 

The key change, according to Mannix, was that death became “the enemy”. 

“The person got into hospital to have treatment to stop them from dying,” she says. “When they died, that was a medical failure. That was an embarrassment.” 

“It’s hard to have a conversation with a person who has no pegs to hang that conversation on. The current population has no idea about dying.”

Doctors started to keep in hospital people who would prefer to be at home with their grandchildren, in case there was one more thing they might try that would save their lives, Mannix says. 

“We need to celebrate that medicine can do so much more than it used to be able to do,” Mannix says. “But we need to remember that those achievements are only postponing dying. We’ve not cured death.” 

Clinicians need to recognise the point in illnesses where death becomes inevitable and speak to patients about their priorities for their remaining time, she adds. 

“Survival at all costs might not be what is most important to them,” Mannix says. “There may be things that they wish to fulfil.” 

Mannix is clear that the UK at least remains a long way from learning the lessons that she is trying to teach. She was prompted to write her thread about Queen Elizabeth’s death partly by the ending to a news bulletin announcing that the monarch’s family were rushing to her bedside at Balmoral. Mannix says the newsreader finished the segment, hours before the death was announced, by saying “Get well soon, ma’am.” She describes it as “a dreadful example of our death-denying”. 

She is giving the annual Theos lecture as the group is in the midst of releasing a suite of resources designed to provoke greater debate around death and dying. They include a video where Mannix explains the dying process. The group’s research paper Ashes to Ashes, published in March, showed that many British people had similar priorities for their own deaths and those of loved ones as set out in Mannix’s work. They wanted to be free of pain or suffering, surrounded by family, probably at home, to be reconciled to people and to be prepared. 

According to Mannix, however, even her fellow medical professionals feel poorly equipped to begin conversations with patients or their families about impending death. Many people had contacted her after reading With the End in Mind saying that they were convinced of the need for frank conversations about death but had no idea how to start them. 

“The feedback from doctors and nurses was the same as from the general public – ‘I don’t know how to talk about this bit’,” Mannix says. “’Nobody taught us about this in training’.” 

It is also a challenge for medical professionals that patients and their families are typically resistant to conversations about death, she adds. 

“The doctor doesn’t want to be the bad guy or girl and constraints in the NHS are such they can’t find time for the length of conversation that’s likely,” Mannix says, adding that many doctors are also unfamiliar with exactly how the dying process tends to unfold. 

“They’re not taught about dying,” Mannix says of trainee clinicians. “They’re not taught to see good dying as a good medical outcome and it could be.” 

Those conversations are all the harder, she adds, because society as a whole has so little conception of the process of death. 

“It’s hard to have a conversation with a person who has no pegs to hang that conversation on,” Mannix says. “The current population has no idea about dying.” 

In wider society, meanwhile, she would like to see far more communities taking the opportunity to support the dying. 

The questions fundamentally end up being spiritual or philosophical ones, Mannix says. She declines to be drawn on her own spiritual practices but describes herself as “spiritually curious”. She similarly declines to outline her position on the debate about assisted dying, saying that expressing a view on that would be a distraction from her primary purpose of promoting discussion of the ordinary dying process. 

But she says questions about how to manage death, whether to prolong life and the balance between quality and length of life inevitably raise “societal questions”. 

“We all want to think about our life being worth something and about the purpose that we think is the purpose of being alive,” Mannix says. 

Mannix hopes her campaign will prompt religious leaders to think more carefully about how they support families and dying people. In particular, she would like priests to acknowledge to those they are supporting that faith will not always banish fear and that the faithful will sometimes feel abandoned by God in the face of death. She would like to see far more thorough training for clergy throughout their careers in how to have such conversations. 

She would also like to see more clergy learn more about the process of death, so that they can reassure families about what they are witnessing – for example, that apparent gasping from the dying person does not indicate pain. She expresses optimism about the growth of civil society organisations – some based around religious organisations – seeking to encourage a more open discussion of death and dying. She speaks particularly warmly of the Death Cafe movement – where people meet for cake and coffee to discuss death issues – and the End of Life doula movement. End of Life doulas seek to shepherd people through death the same way that birth doulas assist women in labour. 

Both of those movements have a key role to play in bringing about the revolution that Mannix would like to see in society’s understanding of death and its role in life. 

Asked what a balanced approach to the issue would look like, Mannix says it would be “very helpful” if people were told at the outset when they were diagnosed with a long term, potentially life-limiting condition that it could be so. 

“Currently, people understand that cancer can kill you,” Mannix says. “But there are many people walking around the country who have long-term lung diseases, kidney diseases, who just wonder why they never feel as well as they used to do.” 

In wider society, meanwhile, she would like to see far more communities taking the opportunity to support the dying. 

“A decision for the public would be to think of an organisation or society or a community that they belong to and how could they be agents of change in that community to explore the concept or ordinary dying,” Mannix says. 

Such communities can decide how best to prepare and make available support for other community members when they are dying. 

“Their dying will come one by one,” Mannix says. “We’ll all take our own turn.” 

 

While most tickets for Kathryn Mannix’s talk on November 1 have been taken, some more may become available at theosthinktank.co.uk. For those unable to attend, the lecture will be filmed and posted afterwards on the Theos website.