Mein Nachbar der Weihnachtsmann (2013)

Mein Nachbar der Weihnachtsmann: Directed by Tim McCanlies. With Harry Connick Jr., Connie Britton, Chandler Canterbury, Fionnula Flanagan. As a child, Michael Walker wished every day could be Christmas. That is, until a tragic accident crushed his holiday spirit. Thirty years later, Michael still can’t muster any joy for the holidays, despite encouragement from his playful wife and well-intentioned parents. But when his young son faces a tragedy, Michael needs to make amends with his past. A mysterious man named Nick gives Michael a gift and instills in him the courage to find the joy that he lost.

“u0026#39;Weedsu0026#39;, which made its short run on the big screen in 1987, is not so much of a forgotten movie as it is a film that relatively few people have ever seen. As of the time of this review (Dec. 2013) it has never been released on DVD and only resurfaces now and then through a couple of seldom watched YouTube clips. Yet having finally seen the movie in its VHS-aged entirety, I can find no good reason for its obscurity. The cast is made up of many well-known actors, including Nick Nolte, Ernie Hudson, William Forsythe, and Joe Mantegna, all of which give dynamic performances, the musical score by the great cinematic composer Angelo Badalamenti is absolutely beautiful, and the settings, characters and plot are all compelling. Thus, I canu0026#39;t help but to assume that this film has been suppressed by the adverse reviews of professional critics such as Siskel and Ebert (I happen to think these two guys made their greatest contribution to the film industry postmortem, when movies were no longer subjected to their ignorant and simple-minded opinions), and perhaps even more so by the fact that the narrative of the film conflicts with American ideologies. u0026#39;Weedsu0026#39; is a film about a group of maximum security prisoners who start a theater company presenting plays about prison life. The audience, both inside and outside the film, are made to sympathize with the prisoners and see a humanity within them, in spite of the immoralities and serious crimes that they have committed. The character Lee Umstetter, the playwright and protagonist of the film, likens the prisoners to weeds growing through the cracks of the prison walls and blooming with flowers filled with nectar sweet enough to still attract and feed the bees. While such a sentiment may be well understood in countries that have some understanding and, in turn, sympathy with the human condition, it is in complete contradiction to the dogma of America, where–as is pointed out in the film–prison is regarded as punishment rather than rehabilitation, and where criminal behavior is completely removed from the context of class, race, and countless other circumstances in order to be simplified into nothing more than a personal choice.u003cbr/u003eu003cbr/u003eAlthough I gave it a perfect score, I donu0026#39;t regard u0026#39;Weedsu0026#39; as a perfect film. The behavior of the characters (perhaps to make the audience further sympathize with them) seemed oversimplified at times, and parts of screenplay adhered too much to the predictable Hollywood formula (though I sense that this was in part done to appeal to as large of an American audience as possible). Nevertheless, I would like to contribute in whatever way I can to raising the status and awareness of a film that, unlike so many of the American films that came out during and after the Regan era, is filled with purpose, meaning and heart, and which deserves far better ratings and reviews than it has normally received from American viewers.”