Wednesday, December 10, 2025

PRANCER (1989)

In the disheartening world of modern cinematic Christmas uplift, PRANCER (nearing the 40 year mark) is considered something of a new classic.  (But then, so is LOVE ACTUALLY.)  A generous rating might be passable.  Oddly the basic story, single-parent kid starts to believe in a mythical Christmas character and sees her life go topsy-turvy for the better, is also the logline for an honest-to-goodness Christmas Classic, MIRACLE ON 34TH STREET.  The one from 1947, not the glossy ‘94 remake.  The big substitution is bringing in wounded reindeer Prancer for MIRACLE's self-proclaimed (delusional?) Santa Claus.  But whereas this film has no other plot to speak of, the surprise hit from ‘47 is loaded with subplots buttressing the CLAUS action: romance for the single parent; competitive capitalism going all warm & fuzzy; courtroom drama; even the frigging Macy’s Thanksgiving Day Parade.  Without something similar, the texture’s awful thin on PRANCER, right from the start.  And that’s before a botched have-your-cake-and-eat-it-too ending.  Still, there’s nice work from Sam Elliott as the single parent running the family apple farm (substituting for Maureen O’Hara’s Mom in ‘47); and fun stunt casting with Michael Constantine & Abe Vigoda making real character turns out of throwaway roles.  On the other hand, director John Hancock* shows little control over Rebecca Harrell’s positive-thinker, not a patch on Natalie Wood’s depressed little girl in ‘47 (Wood a knockout child actor), or in taming Cloris Leachman, unable to pivot from nasty Miss  Havisham to mentoring Miss Moffat as the lady neighbor.

DOUBLE-BILL:  Though it has the lower IMDb.com rating, lots of comments show a preference toward the belated sequel PRANCER RETURNS/’01 (not seen here).  OR: Go for the unexpectedly entertaining (i.e. not too sappy) MIRACLE ON 34 TH STREET/’47.

ATTENTION MUST BE PAID:  *If the name John Hancock rings a bell, it’s likely because he directed the fondly remembered BANG THE DRUM SLOWLY/’73; a film better remembered than reseen.

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