2022 Introduction
Last year I wondered whether the 1954 Christmas movie musical “White Christmas” was on the way out of the Christmas movie canon as anti-white racism took root during “The Great Stupid.” It looks like that’s the case. It is, after all, about as white as a movie can get, even for the Fifties. If it is canceled, the loss will matter. “White Christmas” is an entertaining Christmas romantic comedy and family film with an excellent Irving Berlin score, a brilliant cast and an effectively sentimental and moving climax.
That should be enough, and in 1954 it definitely was enough: the movie was a critical and box office hit. If “White Christmas” doesn’t mesh with the cynicism of our current culture, well, maybe that’s our problem less than it is the movie’s. As for the film losing popularity because it isn’t “diverse” and “inclusive,” I will posit this: if there comes a time when an innocent fable about kindness toward an old hero down on his luck no longer resonates because of the skin-shades of the characters, the values and priorities of American arts and society will have reached a dangerous level of confusion.
And if your children can’t enjoy music, laughter and sentiment expertly inspired by some of the greatest talents this nation has ever produced, you’ve raised them wrong.
I know that my commentary on this movie, in contrast to the tone of the ethics guides to “It’s a Wonderful Life” and “Miracle on 34th Street” is too snarky. (Two very close friends who love the film get mad at me every year.) I’m just not the right audience for “White Christmas.” As a stage director and critic I prize narrative clarity and consistency; as an ethicist I find the usual ethics short-cuts the protagonists in musicals usually stoop to more distracting than the typical audience member. The film also seems to radiate a certain “we know this movie can’t miss, so we can blow off a lot of stuff” vibe, and that’s unethical—unprofessional and disrespectful of the audience. I expect better of director Michael Curtiz, who, after all, directed “Casablanca.”
But the producers knew they had a hit in the making: a remake of the very successful “Holiday Inn”; a Christmas movie; a film built around the best-selling record of all time (then and now); a star, Bing Crosby, whose films seldom missed and who was identified with Christmas; a score by one of the most successful and popular song-writers of his generation in Irving Berlin; a unique performer with his own fan base in Danny Kaye, and a very popular Fifties chanteuse at the peak of her popularity and talents in Rosemary Clooney. “White Christmas” was certain to be good, but as Bing Crosby groused tears later, it could have been great, and should have been. The film-makers were satisfied with making it just good enough, and were confident that the audience wouldn’t notice or care.
That ticks me off in the arts and in any other field. It really ticks me off when that cynical approach works.
One of the most ethical features of the movie was behind the scenes, an ethical act that allowed it to be made, undertaken by one of the most unlikely people imaginable, Danny Kaye. Kaye was a major factor in launching my interest in performing, musicals, and comedy, but my research into the real man, when I was in the process of collaborating on a musical about his relationship with his wife and muse, songwriter Sylvia Fine, revealed that the real Danny Kaye was a miserable, paranoid, selfish, mean and insecure sociopath when he wasn’t playing “Danny Kaye,” which could be on stage or off it. In this case, however—and nobody know why—the abused Jewish kid went to unusual lengths to save a Christmas movie.
“White Christmas” had been conceived as a remake of “Holiday Inn” with the same stars as that black-and-white musical, Bing Crosby and Fred Astaire. Fred couldn’t do the project, so his part was re-written for Donald O’Connor, who became ill so close to shooting that there was no time to retool the script and have the film ready for its target holiday release. In desperation, the producers asked Kaye if he would play Bing’s sidekick even though it meant 1) playing a support, which Kaye had never done in a movie since becoming a star 2) playing a role that didn’t’ highlight his special talents (for those, watch “The Court Jester”), and 3) subordinating himself to Bing Crosby, who was indeed the bigger star and box office draw, and most daring of all, exposing his own limitations by doing dance numbers created for Donald O’Connor. Kaye was not a trained dancer, just a gifted mimic and athlete who could do almost anything he tried well. Danny demanded $200,000 and 10% of the gross to rescue the project, but he still was doing so at considerable personal risk…and he didn’t need the money. Sylvia was a financial whiz.
Everyone around Danny Kaye was shocked that he agreed to all of this. Not only did he agree, he also amazed everyone by not playing the under-appreciated star on set, by doing O’Connor’s choreography as well as he did, and by knowing how not to steal focus from the star, something he infamously refused to do on Broadway when he was in “Lady in the Dark” with Gertrude Lawrence. “White Christmas” was the top grossing film of 1954 and the most successful movie musical up to that time. Kaye’s uncharacteristic unselfishness and characteristic versatility made that level of success possible.
Maybe next year I’ll soften the commentary. The movie works (even I get choked up at the end); you just have to turn off your brain to fully enjoy it the way it was meant to be enjoyed. It has many high points, musical and comedic, they more than justify the flaws, and we will never see the likes of Crosby, Kaye and Clooney again (and Vera-Ellen was no slouch). Whatever faults “White Christmas” may have, it’s whiteness isn’t one of them.
1. The First Scene
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Ethics Alarms 
Have any of the researchers currently studying the number of times white males are showcased on these series actually pitched an idea to Discovery? I don’t think Discovery Channel calls guys named Mike to do a show for them about sharks. The only Mike that I am aware of on the series is Mike Rowe who has developed a number of programs for the Discovery Channel, most notably Dirty Jobs. I suppose because I don’t see a lot of women cleaning hog pens or standing next to a blast furnace that too is discriminatory. What that Mike has done for making non-white collar jobs desirable and dignified is what most of us should aspire to emulate.
Yes, most of the shows do focus on the shark’s hunting behavior but the attacks showcased are not about attacks on humans but on prey species. Nothing captures the viewer like an 8-foot, 2000 pound Great White breach the surface as it hunts a seal (or a replica of one). The replicas are scientific instruments that take various measurements such as bite force and jaw size. When the focus is on the hunting behaviors of other pelagic species, the focus on speed and tactics. As a diver, I want to know as much about the behavior of certain species that I may encounter in the wild. One of my most favorite dives was a wreck called the Proteus where I had the privilege of swimming with over three dozen 6-8 foot Sand Tiger sharks. When I tell people about my diving, I often hear women claim they would not attempt to dive with sharks. Men probably think the same but are less inclined to admit it.
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