The “White Christmas” Ethics Guide (REVISED And UPDATED)

I’m looking at some holiday movies to add to the Ethics Alarms library of annotated classics—no, ethics and “A Christmas Story” are irrelevant, it being a child’s remembrance and hardly literal–but I might as well begin with  revising and revisiting the “White Christmas” guide, which first appeared in 2012. 

I still like the film—my wife hates it—being a fan of all four stars, especially Bing and Danny, as well as the director, Michael Curtiz.  I do like it a bit less each time I see it, mostly from an ethics perspective, and the successive revisions reflect that.

I still get misty when the old general, played by Dean Jagger, gets saluted by his reunited army unit, which has gathered at his struggling, snowless, Vermont inn on Christmas Eve to remind him that he is still remembered and loved. Nonetheless, “White Christmas” is by far the strangest of the Christmas movies, and also the most unethical. Though everything works out in the end, the characters in the sloppy plot spend the whole movie lying, extorting, betraying, manipulating and generally mistreating each other, always with no recriminations at all, and usually with no consequences either.

In his addendum last year to my original post, Michael West found the film foundering from the second the opening credits ended. He began with the script for the opening scenes—General Waverly* is played by Dean Jagger; Captain Bob Wallace is Bing Crosby, and Private Phil Davis is Danny Kaye:

Opening Scene in the Jeep as they hear the Entertainment show.

GEN CARLTON (To Adjutant): What’s this all about, Captain?

ADJUTANT: A little entertainment for the men, sir. Tonight’s Christmas Eve.

GEN CARLTON: These men are moving up tonight, General Waverly. They should be lined up for full inspection!

GEN WAVERLY (To Carlton): You’re absolutely right. (To Adjutant): There’s no Christmas in the Army, Captain.

ADJUTANT: Yes, sir.

GEN WAVERLY (To Carlton): There’s always a slip-up or two during a change in command. The men get a little loose. But I know I’m leaving them in good hands.

GEN CARLTON: (To Waverly): Thank you, General. (To Driver): Sergeant, take me to headquarters immediately! We’ll have those men turned out on the double!

The Sergeant looks at General Waverly.

GEN WAVERLY: Goodbye, Sergeant. Take the short cut.

SERGEANT: Yes, sir!

The jeep pulls off and makes a half circle. The Adjutant makes a gesture, as if to stop it. Waverly stops him. The Adjutant turns to him.

ADJUTANT: That’s not the way back to headquarters!

GEN WAVERLY: Joe, you know that, and I know that, but the new General doesn’t know it. Or he won’t for about an hour and a half.

ADJUTANT: That Sergeant’ll be a private tomorrow!

GEN WAVERLY: Yes… isn’t he lucky?

SCENE CHANGE TO ENTERTAINMENT SITE:

CAPTAIN BOB WALLACE and PRIVATE PHILIP DAVIS are doing a number on stage to entertain a mass of 200 or so soldiers. GENERAL AND ADJUTANT just starting to take seats, off to one side where they are not noticed by the performers. ABOUT 6 SOLDIERS seated in audience. They look off, see General, start to rise. The General notices them – motions for them to sit down again, indicating he doesn’t want attention called to himself. Captain Wallace sings “White Christmas”.

CPT WALLACE: Well that just about wraps it up, fellas. It’s certainly too bad General Waverly couldn’t be here for this little yuletide clambake ’cause we really had a slam bang finished cooked up for him. I guess by now you know the Old Man’s being replaced by a new Commanding General fresh out of the Pentagon…it’s not a very nice Christmas present for a division like us that’s moving up. The Old Man’s moving toward the rear. That’s a direction he’s never taken in his entire life. Well all I can say is we owe an awful lot to General Waverly and to the way…

GEN WAVERLY: ATTENTION!

Every man is at attention and every head has turned to where General Waverly has taken up a position near the front of the platform.

GEN WAVERLY: Captain Wallace, who’s responsible for holding a show in this advanced area?

CPT WALLACE: Well sir as a matter of fact it was…

PVT DAVIS: …me Sir! It was my idea sir. Uh, I mean when you gotta entertainer sir of the caliber of Captain Wallace, sir…I mean sir…it’s Christmas Eve, sir. And well, sir, I mean that if you were in New York, Sir, you’d have to pay six sixty or even eight eighty to hear a great singer like Captain Wallace, sir.

GEN WAVERLY: I’m well aware of Captain Wallace’s capabilities. Who are you?

PVT DAVIS: Er…Phillip Davis, sir. Private First Class, sir.

GEN WAVERLY: Well, at ease, Davis.

DAVIS: Yes, Sir!

WAVERLY: I said, At Ease!

DAVIS: Oh, uh, Yes, sir, thank you sir.

WAVERLY: This division is now under the command of General Harold G. Carlton, and I don’t want anyone to forget it — not that he’ll let you. He’s tough — just what this sloppy outfit needs. He’ll have you standing inspection night and day — you may even learn how to march. And if you don’t give him everything you got, I may come back and fight for the enemy. Merry Christmas!

ASSEMBLED MEN: Merry Christmas!

GEN WAVERLY: Well, I guess, all I can say is, how much I…what a fine outfit…How am I going… (to Wallace) don’t just stand there, how am I going to get off…?

CPT WALLACE: We happen to have a slam-bang finish…He turns to the musicians, gives the downbeat.

They play “THE OLD MAN,” which is sung by the entire outfit.

ARTY FALLS IN VICINITY…Soldiers crouch…then finish singing.

GENERAL AND ADJUTANT DEPART.

MORE ARTY FALLS, ON SITE…Men scatter. Captain Wallace and Private Davis try to get men to cover. Private Davis man handles the Captain to cover as a wall collapses where he had just been standing.

For starters, we see a mass of soldiers in an open air situation within effective range of enemy artillery fire. A single well-placed artillery round could eliminate approximately 200 soldiers — more than an entire World War 2 Infantry Company (whose authorized strength is about 190-195 men; but given this stage of the war and attrition, this could easily be 2-3 companies of EXPERIENCED soldiers). Someone in the chain of command KNOWS this to be true and authorized this gathering despite the obvious danger. We know for certain that the Adjutant knows what the gathering is, as he answers in line #2 precisely what is going on. But an Adjutant has no command authority, so someone else authorized the gathering. We have to assume General Waverly didn’t know until the Adjutant answered General Carlton’s inquiry based on General Waverly’s later questioning of Captain Wallace. We can’t ever be sure who actually made the decision to have the entertainment occur at that location since Private Wallace, breaking an incredible number of military bearing protocols, interrupts a Captain, to answer a General. This Private, Private Davis, accepts all responsibility for the decision to expose upwards of 2 companies-worth of men to devastating artillery fire.

This information leaves us with two options: Either it really was Private Davis’s idea to have the venue at that location, in which case, Private Davis’s commanding officer and the various commanding officers AND EVERYONE ELSE in their chain of command are colossally INEPT for agreeing to the idea. The second option is that Captain Wallace DID indeed make the decision to have the venue at that site, and now he’s standing there like a lump allowing a subordinate to cut him off mid-sentence, a military no-no, and then allowing the subordinate to take the heat of any potential censure that was forthcoming. Of course, since he’s a Private trying to cover for his boss, he’ll say anything, so I won’t even ding him for the horrible excuse that 200 men should be exposed to German artillery fire because CPT Wallace is a famous singer – we all know it’s worth dying to hear Bing sing…

But of course, even General Waverly doesn’t seem to mind that 200 of his soldiers are idling around with a population density rivaling that of Bombay, just one artillery strike away from having more in common with mist than with humanity. When HE discovered what was going on by the Adjutant’s answer in line #2, he should have immediately ordered the soldiers disperse and had about two dozen commissioned officers who had every ability to stop the farce standing in his headquarters receiving the most royal dressing down of their careers and maybe a few firings.

What possibly does General Waverly think outweighs the need to disperse a mass of soldiers within effective range of artillery? Why, a Christmas music concert of course! It is Christmas Eve, after all!  Now, the Army does a really good job bending over backwards for the morale, welfare, and recreation of soldiers, much more than was ever considered a military precedent. BUT, we learn from the dialogue, the entire division is on orders to “move up tonight.” This somewhat vague description could range anywhere from simply occupying a section of the line to relieve a unit coming back or it could mean they are initiating a major offensive operation. We learn, however, that this movement, whatever it is, is occurring in mere hours. Having experienced large movements of soldiers myself, I know that if a Division is stepping off in a few hours, the men down to the platoon level are ALREADY in their assembly areas doing final preparations. This is apparent to the new commander, General Carlton, who is astonished that the men aren’t doing their final checks of equipment and gear.

Which leads us to the next bit: General Waverly is none too concerned about the unjustifiable exposure he’s tolerating of his…well, now General Carlton’s men…as we know Waverly has just been replaced by General Carlton, who, trope-tastically, we learn is one of those wretched new leaders who is probably horribly incompetent. The movie lets us know early on that he’s a despicable piss-and-vinegar type when he is mad that the men are having Christmas entertainment. Never mind that we now know that Carlton is severely concerned about a huge mass of men within artillery range open and exposed as well as not anywhere near where they ought to be to initiate movement of the entire Division.

The movie also lets us know he’s a jerk because it pushes the whole “fresh out of ________” trope. The usual way this plays out is the “fresh out of West Point” or “fresh out of ROTC” smear applied to new Lieutenants who assume Platoon Leadership with little to no actual experience. Unfortunately, this doesn’t exactly play out on the General level. Yes, the General ranks expanded rapidly during World War II, but an individual didn’t become one by being a complete buffoon (and yes there are always exceptions — but General Carlton, who seems to have a sense of urgency that no one in Waverly’s sphere of influence seems to possess, does not seem to be the exception).

Never mind, we’ll go on with the traditional “smearing of the new guy who replaces the beloved experienced leader.” In the original script I copied and analyzed, the dialogue was OVERTLY insubordinate and actively undermining of the men’s confidence in their new commander. In the corrected dialogue, though cleaned up a lot, there are still hints of undermining the new guy’s authority before he even makes a decision as the commander. There’s General Waverly’s smart-ass “There’s no Christmas in the Army” jab as a response to Carlton’s concern about the location and timing of the entertainment event — which he says “knowingly” to the Adjutant, who, we must remind ourselves no longer works for the Waverly but for Carlton.

There is the extra-rotten move when Carlton, recognizing the imminent danger as well as the horrifying breach of schedule in implementing the plan of operations, indicates he plans to move to Headquarters immediately to begin rectifying the situation and is undermined either by the Sergeant driving Carlton or by General Waverly himself. The driver decides to undermine Carlton’s ability to fix the problem by taking an extra long route back to headquarters. Between a driver and a singing-private, this division is apparently full of the lowest-ranking guys thinking they know best when to leave a behind-the-schedule division exposed to enemy fire just so they can catch a few tunes from Bing. The only other possible explanation is that General Waverly, himself, with a nod-nod wink-wink, authorized the driver to follow the reckless plan to take an hour-and-a-half detour, which we assume will require another hour-and-a-half correction before Carlton can get to Headquarters. Just as with the Adjutant before, let’s again consider that this driver no longer works for Waverly, but for Carlton The Sergeant is being openly insubordinate.

Even if Waverly was not responsible for the three-hour diversion, he immediately became complicit when the Adjutant, in an apparent realization who his new boss is (Carlton), moved to correct the driver but was stopped  from doing so.by General Waverly

The last bit of insubordination and undermining  the chain of command comes from the subtle digs Captain Wallace makes during his speech. His “Fresh out of the Pentagon” disdain undermines faith that Carlton may be a good commander, followed by the snide “not a nice Christmas present” for the division is enough to get any soldier censured. Soldiers and peers WILL whisper about their leaders, but an open act of insubordination like that? Stamped out like a spark in a dry forest… I won’t even address the fact that it’s a COMMISSIONED OFFICER making the openly insubordinate comments and a CAPTAIN no less. He would be dismissed and transferred immediately.

But hey, I suppose Waverly recognized all their rotten conduct when he feebly tried to make things right by saying “hey guys, he’s a good commander, never mind all the stuff we said before and our attitudes we displayed before!” A few moments later, just to do Carlton some justice, the artillery shelling arrives.

Then the movie moves into its funny guilt extortion phase. Army private Phil Davis (Danny Kaye) rescues his smooth-singing captain, Bob Wallace (Bing Crosby) from being crushed by a falling wall in a World War II bombing raid, and injures his arm in the process. (It’s not a plot feature, but the battlefield set for the entire opening sequence is itself unethically unprofessional by being chintzy even by musical standards: it looks like they are filming a skit for a Bob Hope Christmas Special.  I thought it was lousy when I saw it as a kid. Michael Curtiz deserved better; the man directed “Casablanca.” Show some respect.) Phil then uses Wallace’s debt of gratitude to coerce him into accepting the aspiring comic as a partner in Wallace’s already successful civilian act. This is obviously unfair and exploitative, but Bing accepts the ploy with good spirits, and the next we see  the new team of Wallace and Davis knocking ’em dead and rising in the ranks of stage stars.

The act looks terrible. Bing was never much of a dancer, a game hoofer at best, and you don’t feature the greatest voice in the history of American popular music by having him sing exclusively duets. Nevertheless, all we see of the team’s rise is both of them singing and corny dancing inferior to what Bing did with Bob Hope in the “Road” movies.

Never mind. They have a show on Broadway, and as a favor to a mutual army buddy, they agree to watch the boonies nightclub act of “The Haynes Sisters” (Rosemary Clooney as Betty, and Vera-Ellen, of wasp-waist fame, as kid sister Judy. Did you know that in the “Sisters” number, Clooney sang both parts? ). Bing is immediately smitten with older sister Rosemary, but there is a tiff over the fact that younger sister Judy fooled them into seeing their act: she, not her brother, had sent the letter asking for a “favor.”

This is the first revealed of many lies woven into the script. This one is a double beach of ethics: Judy uses her brother’s name and contacts without his permission or knowledge, and lures Wallace and Davis to the night club under false pretenses.

Bing dismisses Judy’s cheat by noting that everyone “has an angle” in show business, so he’s not angry. Rosemary is, though, and reprimands Bing for being cynical. That’s right: Vera/Judy uses their brother’s name to trick two Broadway stars into watching their little act, and Rosemary/ Betty is annoyed because Bing/Bob (Bing’s bandleader, look-alike, sound-alike brother was also named Bob) shrugs off the lie as show business as usual. True, Betty is technically correct to flag the Everybody Does It rationalization, but shouldn’t she be grateful that Bob isn’t reaming out the Haynes sisters and leaving the club in a huff? OK, nice and uncynical is better than nice and cynical, but Bob is still giving her and Judy a break. As the beneficiary on Judy’s angle, Betty is ethically estopped from complaining that Bing/Bob’s reaction was “I don’t expect any better.” I can, she can’t. He should expect better: accepting unethical conduct allows it to thrive.

As we soon find out, however, Betty often flies off the handle.

Continue reading

Morning Ethics Warm-Up, 5/2/18: Dictators, Wizards, Liars and Abusers [Updated]

Good morning!

1 Housekeeping matters. For some reason, I know not what, there was an outbreak of contentious discussion regarding Ethics Alarms administration in a couple of threads yesterday. I think everything covered or complained about is covered in the Comment Policies above, but just for the record:

  • I handle the moderation here. Only me.
  • Though it might appear otherwise to some, I do not spend my day glued to Ethics Alarms. Thus on days like yesterday, when I had an early morning CLE session to teach in D.C., followed by one  law firm client emergency after another, I did not see any comments at all from 1am to 6 pm. Thus the hysterical and indignant “Why did you delete my comment?” outbursts and the “How dare you allow that rude comment to stay on the site?” and the ultimata springing therefrom were especially silly, unfair, and ill-informed.
  • I am not your Moderation Monkey. Don’t command me on how to police my own site. Thank you.
  • As I have written many times, occasionally a comment from an approved participant gets spammed for no good reason. Sometimes WordPress, for no apparent provocation, starts spamming the comments of visitors here who have been commenting for years. Sometimes such commenters have had to change their screen names as a result. None of this has anything to do with me: I can’t control it, or predict it. The calm, reasonable commenters faced with this crisis generally e-mail me, then I search the spam archives, find the lost post, send it to moderation, and approve it.
  • I do not delete posts from approved commenters. The exception is when I ban a commenter permanently, or give one a time out, which is a temporary ban or suspension, in which case the commenter is always warned in advance.
  • I expect discourse here to be civil, but will excuse momentary and periodic lapses and outbursts from veteran commenters (and me, of course), in direct proportion to their time here, level of participation and constructive value to the mission. Individual quirks will also be taken into consideration.

2. Remembering the David Manning Liar of the Month: A commenter who hails from the old Ethics Scoreboard days recently referenced the feature there called the David Manning Liar of the Month. A David Manning-style lie is a statement that the speaker or writer can’t possibly expect anyone to  believe, thus raising the question of whether it is a lie at all. (Sony spawned the award by excusing its use of a fake film reviewer it named David Manning to rave about terrible movies in ads,  claiming that nobody believed such excerpts anyway.) If Ethics Alarms had the same feature, President Trump would obviously dominate it, as I was reminded this morning. The President’s ex-physician, Dr. Harold Bornstein. bitter over his ejection from the Trump Court, revealed that Trump himself had dictated the absurd letter in which the doctor attested, Continue reading

Comment of the Day: “‘White Christmas’ Ethics Addendum: Battlefield Incompetence, Insubordination And More In The Holiday Classic”

To kick off the Not-Too-Early-To-Play-Christmas-Music Season, here is a Comment of the Day that adds another chapter to the Ethics Alarms commentary on “White Christmas,” the Bing Crosby-Danny Kaye musical film that is one of the five or six most resilient of the Christmas classics. The initial ethics analysis is here.

The post that spawned the latest take was a rare guest essay by Ethics Alarms veteran texagg04.

Now comes new commenter SykesFive to provide insight into the pivotal character of General Waverly, played by Dean Jagger. Among other things, he argues that one reason the general was so beloved was that he was poor general, treating the lives of his men as more important than his mission.

Here is his Comment of the Day on tex’s post, “White Christmas” Ethics Addendum: Battlefield Incompetence, Insubordination And More In The Holiday Classic:

I have a somewhat different take on this. I sometimes think I am the only person who thinks so much about the Waverly character.

As the scene opens, Major General Waverly is being relieved for frankly the only reason American unit commanders were relieved during the war: he didn’t take the objectives. That is failure. It could be lack of aggression or poor coordination or anything else, but ultimately it is failure and the commanding officer will pay the price. He will be shuffled off to a rear area command, or maybe just left to bum around the theater, and be out of the Army by the end of 1945 because his record will be so tarnished. He will be lucky not to revert to his prewar rank.

Waverly’s age suggests he was a company-grade officer during WWI and may or may not have seen combat during that conflict’s closing weeks, then spent decades idling in the interwar army. Apart from whatever happened in 1918, Waverly has no more combat experience than anyone else in the division. He is not an experienced commander by any measure. He had the right credentials–a few articles in service journals, no serious problems on his posts, and of course a West Point Ring–but had never really been tested as a field-grade officer. Again this is a common profile.This is a very common profile for WWII US Army division commanders.

So in 1940, let’s say Colonel Waverly seemed like a likely candidate for command of an infantry division in the expanding army. He did well enough with some trial commands–all during stateside training and expansion–and was promoted to one and then two stars. He seemed competent enough when the 151st Division was formed and went through let’s say nearly two years of intensive training in Texas or California or wherever. And so the division was sent to Europe in let’s say August 1944, then spent a couple months languishing in Normandy or the Pas de Calais region, during which time Waverly was a friendly presence at other officers’ headquarters as well as around his division. Bear in mind that at this point, and really for the whole war after the breakout from Normandy, the limit on American frontline strength was providing fuel and artillery shells. There were more men and tanks than could be sustained at the front. Continue reading

Casting Ethics And “The Music Man”

A recently closed summer production of “The Music Man” at the Berkshires’ Sharon Playhouse illustrates many of the ethics landmines overly ambitious directors and non-traditional casting can trigger.

New York director Morgan Green was hired to direct Meredith Willson’s  1957 classic. Until “Hamilton” came along, only two Tony winning musicals had a book, lyrics and music all written by one person: “The Music Man” and “Oliver!” “The Music Man” isn’t my favorite musical, but a strong argument can be made that it is the Great American Musical, celebrating small town Americana with Sousa-style marches, barbershop quartets, and the best ending in musical theater history (stolen, with great success, by “School of Rock.”) There is no need to mess with it, since the show is pretty close to perfect. I was taught that a production should be equally satisfying for an audience member who is seeing a show for the first time and for one who is seeing it for the last time.  A version that takes the show out of 1912 and litters the landscape with anachronisms and forced 2017 social and political references isn’t fair to either of these. This was, I presume from based on Jesse Green’s review, a “Music Man” for people sick of “The Music Man” (like Jason Green.) You know what? If a director is sick of a show, she has an ethical obligation to let someone direct who isn’t sick of it.

Naturally, there was the obligatory stunt casting of women in some men’s roles (but never men in women’s roles, of course), and  the non-traditional casting of a black actress as Marion (the Librarian) Paroo, the romantic lead originally created by the recently departed Barbara Cook in the original production.

I see no problem in principle with casting Marion as black. It’s certainly ahistorical, and the hint of a trans-racial romance in 1912 Iowa is unimaginable, but “The Music Man” is, or should be, about kids, romance, parades, sentiment and fun, none of which is impeded by non-traditional casting.

There is a problem, though. One of Marion’s big solos, in which she sings about her ideal man (whom her mother believes is too ideal to be real), is called “My White Knight.”

Oh-oh. Continue reading

Political Correctness, Race-baiting Social Justice Warrior Bullies And A Gutless Star Collaborate To Kill A Hit Musical

…and the show’s creator is fine with this. After all, it’s for a good cause, the good cause apparently being the elevation of race grievance politics above art, commerce, fairness and common sense.

Bear with me now, as you strain to comprehend this apotheosis of progressive cant gone stark, raving mad:

Josh Groban (a talented performer who is white)…

 

leads “Natasha, Pierre & The Great Comet of 1812,” to 12 Tony nominations. He is replaced by the talented “Hamilton” alum Okieriete “Oak” Onaodowan (who is black),

but the show’s box office drops like a stone once Groban leaves the  cast. Thus Oak is scheduled to leave the cast in August. Mandy Patinkin (who is a Tony award winner, a musical theater icon, a bigger star than either Groban or Onaodowan, and who is, incidentally, white)

…was hired to replace him. Ticket sales rebound at the news. But crazed, social justice warrior race-baiting bullies on social media attack Mandy for “taking away the job of a black actor.” Continue reading

It’s Theater Ethics vs. High School Ethics, And Incredibly, Both Win

New Jersey’s Cherry Hill School District announced last week that the planned Spring student production of the 1998 Broadway musical “Ragtime” would continue to be rehearsed and would proceed, despite the complaints of some parents. However, student actors would not use “nigger” and other racially-charged terms in the original script. They would be changed or eliminated, the District said.

A spokeswoman for the district, said at the time that officials had already been discussing the possibility of censoring the Cherry Hill High School East production when the Cherry Hill African American Civic Association and the NAACP offered their remedies: censorship, political correctness, and bye-bye free expression and thought. Of course this was their reaction. It is simple-minded, but typical of left-wing political correctness tyranny. It doesn’t matter what ideas are being conveyed, certain words cannot be used to convey them. Whenever possible, the heavy boot of government should crush the non-conforming expression. Also “of course,” lily-livered school administrators initially offered no opposition. Duck the controversy, and the real issues be damned. After all, it’s just a high school musical.

Unfortunately, there was the little issue of licensing agreements. “Ragtime” is a work of art, not that the NAACP cares, and artists have a right to control how their work is performed, even in Cherry Hill. The contract under which the school was allowed to produce the show specifies that the script and songs must be performed as written, no exceptions.

The National Coalition Against Censorship, the Dramatists Guild of America, and Arts Integrity Initiative wrote a smart letter urging the school officials “to reconsider and reverse [the] decision to censor “Ragtime”:

“Ragtime’s” use of racial slurs is an historically accurate and necessary aspect of a play that explores race relations in the early 1900s. Ragtime helps minors understand the brutalities of racism and the anger that has historically accumulated, partly through the use of racially offensive language. In contrast, censorship of such language ignores historical reality and presents a falsified, whitewashed view of race relations. Censoring the play will only perpetuate ignorance of our past. While we empathize with concerns about the emotionally disturbing effects of hearing or uttering racial slurs, we believe such concerns are to be resolved through educational means, not by censoring a renowned text. In our experience, similar concerns… have best been confronted through dialogue rather than censorship.”

Then the students, who had been rehearsing the show since before Christmas (no, real high school performers can’t prepare an elaborate show of professional quality in a few days, as “Glee” would have us believe), created a petition on Change.Org: Continue reading

“White Christmas” Ethics Addendum: Battlefield Incompetence, Insubordination And More In The Holiday Classic

 

A Special Guest Post by Texagg04

Ethics Alarms commenters who are honored with the annual “Commenter of the Year” title in the yearly Ethics Alarms awards have the option of joining the elite ranks of guest bloggers here. Texagg04 got the honor a couple years ago but never exercised his option. His recently posted, meticulously-researched and fascinating  multi-comment  addition to my 2012 post about the holiday film “White Christmas” seemed too extensive for a mere Comment of the Day, and I asked tex to edit it into a single post. He agreed, and what follows is the result. I recommend seeing the film (it’s on Netflix) either before of after reading his analysis. The 2015 update to the 2012 Ethics alarms “White Christmas” post is here.

—Jack

***

As the kids were watching “White Christmas” and I walked by, in passing, I noticed something amiss about the “military” feel of the opening scenes that seemed off ethically. So I copied and pasted the first website that claimed to be a script of White Christmas. I’m not sure what it was…if it was a working copy or a first draft, but it has significant differences from the actual filmed scenes. So, I’m forced to modify some of my assessment from the original three posts.

All the dialogue is transcribed *directly* from the listening to the movie, so I think I’m pretty close to word for word. The scene descriptions and action statements are modified versions of the script I got from the original website (which can be found here).

Before I go into commentary, I’ll insert the entire dialogue for perusal and familiarity. There are numbers to reference particular dialogue in my analysis at the end. Here are the opening scenes—General Waverly is played by Dean Jagger; Captain Bob Wallace is Bing Crosby, and Private Phil Davis is Danny Kaye:
Continue reading