Father Christmas

Dir: Dave Unwin

1991

*****

Raymond Briggs' Father Christmas is bloomin' marvellous. An adaptation of the author's illustrated books Father Christmas (1973) and Father Christmas Goes On Holiday (1975), Dave Unwin's animated 1991 film captures all the magic and subtleties of the originals as well as the quintessential Britishness of Briggs' style. Voiced the late great comedian Mel Smith, Father Christmas is essential viewing for me over the festive period. I love the idea that Father Christmas goes on holiday pretty much the rest of the year after his manic working night of 24th December and that he is pretty much just another Brit abroad when he is (which is ridiculous but lovely all the same). The American edited version is a crime against humanity and should be avoided at all costs. It's also lovely in that it links Raymond Briggs' other stories together. The Snowman is the most obvious story and it is suggested that this particular adventure happens a couple of years after the events of that particular story (and that the Snowman himself visits ever year). It is also worth looking out for both Jim and Hilda Bloggs from When the Wind Blows who are both drinking in the Scottish pub scene and Ernest (Briggs' Father) from Ethel and Ernest who can be seen delivering milk to the Royal family on Christmas morning. Like many, I grew up reading Raymond Briggs' books and fell in love with every one of them. There is a childishness and maturity to all his works that means that now I'm an adult, they mean even more to me. It's wonderful that they have been adapted so perfectly by people who both love and understand why they are so special.

Ethel & Ernest

Dir: Roger Mainwood

2016

****

Raymond Briggs had already written and illustrated his parents in one way or another with them being the inspiration for Gentleman Jim, Where the Wind Blows and both appearing in animated cameos in Father Christmas and The Snowman. There really isn't anything extraordinary about the life of Briggs's parents, their lives were the same as many other millions of people born the same time as theirs. Brigg's observations will be very familiar to many others, not just in England either. It isn't really just an experiment in nostalgia though but rather in social attitudes. Ethel is naive to politics and is more concerned with keeping up with the Joneses while Ernest is a proud working class socialist with enthusiasm for modern social progress. They're chalk and cheese but they have a real love for one another. While Ethel has middle-class aspirations and never sees herself as working class (even though she is), Ernest will read about those living on the breadline without realising he is one of them. The Second World War hits them hard, particularly during the blitz. They take it with a stiff upper lip as many did but without fully understanding the politics behind it. There are wonderful examples of frustrating but endearing contradictions that will be familiar to everyone, whether you live in England or not (although I will probably always see it as more of distinctive British thing) such as when Ethel cries her eyes out when Raymond has his long hair cut short for his first day at school and then is over the moon years later when a teenage Raymond gets his long hippy hair cut off when he was conscripted into national Service. Brigg's fondness and frustrations are clear, I can relate to it 100% and it's nice (but again frustrating) to hear it from a man who was in his mid-60s at the time. Roger Mainwood's animated adaptation of the 1998 graphic novel is perfect though, never once losing the story's essence or overall effect. It's introduced rather beautifully by Brigg's himself, sat at his desk, pondering what his parents would make of the book and film. He suggests they would both take issue with their portrayal and say that certain events didn't happen the way they are shown but deep down you just know that it probably exactly like it was. I love Brigg's work, Ethel & Ernest is clearly his most personal work and is a beautiful portrait of Britishness, naivety, the working class, social attitudes, politics and most importantly, love.