ELF: A Christmas Tradition

Christmas movies are creations of comfort, and reminders of family and love around the holidays. They aren’t always the most believable or technically well-crafted, but there’s one undeniable exit that you can’t deny: they make you feel. Elf is no exception.

15 years ago, Buddy the Elf hit theaters and managed to make a mark in an incredibly difficult genre of film: Christmas. That’s not to say there aren’t many remarkable ones, but there’s a lot more that aren’t, especially in the last decade.

For every one memorable and inventive Christmas film there’s probably twenty more that you’ll never see, many of which air on channels like Lifetime (which many enjoy – but it’s not my thing).

I actually wrinkled my nose at Elf when it first came out. It was probably because I was a high schooler and I thought this was somehow below me, but once I did discover it, I’ve made it a part of my tradition each year.

Pre-Iron Man and Post-Swingers/Made, Jon Favreau directed his way into the hearts of all ages with Elf. This film, using each potential tool for success, was a hit and also managed to be critically loved.

There are few cinematic ventures that capture the Christmas spirit in such abundance and hit the Holiday target so directly on the nose.

Through The Seven Levels Of The Candy Cane Forest, Through The Sea Of Swirly Twirly Gumdrops, And The Lincoln Tunnel

If you’re someone who has never seen Elf, let me give you the lowdown. Buddy (Will Ferrell) is raised in the North Pole with and by elves after he sneaks into Santa Clause’s bag as a baby (the first human to step foot in the NP). Despite his obvious height difference and his lack of an affinity for toy making, he doesn’t realize he is human until he’s thirty years old.

He’s raised by Papa Elf (Bob Newhart) who tells him that his mother put him up for adoption when he was a baby. His mother has since passed, but his father (unaware of his existence) works in New York City.

His father Walter (James Caan) is on the naughty list, works in the Empire State Building at a children’s book publisher, and has a family of his own with wife Emily (Mary Steenburgen) and son Michael (Daniel Tay).

His journey begins when he decides to travel and find him, expecting the level of elation that he’s imagined. Things don’t go quite as planned, and after being mistaken for a Christmas gram and completely delusional, he finds himself at the toy department of Gimbels.

There he meets Jovie (Zooey Deschanel) an employee who he quickly becomes enamored with. Jovie, other than being a singer who enjoys noodles at home alone, doesn’t get much of a history, but she’s still a winning contribution, and this is Buddy’s tale.

As you can guess, this sugar-loving jovial elf eventually gets under the skin (in one way or another) of everyone he meets, the film especially using the cynicism of his father and fellow New Yorkers as fodder. When Santa is in need of his assistance on Christmas Eve, the film culminates in a Central Park escapade.

The Man-Child

Will Ferrell makes this film the joy that it is. Through his use of unrelenting physical humor combined with innate wonder for everything he sees, he’s a character that is impossible not to love. Much of the humor can be construed as silly, but the script, written by David Berenbaum, is also very funny.

Decked out in his wonderfully created costume that’s just the right amount of ridiculous, Ferrell has a flair for embodying the character with an irrefutable spark. His commitment is admirable. Whether he’s busting out in song or delivering one of the many lines that have become very quotable over the years, he’s ensuring a response.

There’s also a romantic storyline and a heartfelt gooey center that emulates Buddy’s growth into not only a man, but a fully-formed character. The film works so well that even the predictable final act is more “aww” than “really?”

He’s a fish out of water, entranced by everything he hasn’t seen, much like a kid discovering the world. He waves to taxis, presses all the buttons on an elevator, and eats cotton balls (and old gum-eek).

It’s enjoyable for kids, but it’s necessary for adults. Remember when you stayed up all night, anxiously awaiting the opportunity to open your presents? These little eccentricities make his fresh-faced exclamations reminiscent of childhood, and by extension the audience is reminded of the purist form of the holiday.

Elf is portrayed as a storybook, a terrific option, not only because of the connection with his father’s business, but also because it helps to accommodate the ambiance of a fairy tale. The integration of some stop motion friends helps to guide the tale into a sweet spot of feeling classic and yet new.

Favreau creates a playful centerpiece of Christmas cheer. It isn’t as sweet as pasta a la Buddy (smothered in all measure of sugary confections) but Elf is that second helping, the extra cookie, and a tall glass of egg nog you can’t deny having.

Check It Off Your List: Elf

What can’t be portrayed through this review is the undeniable and enchanting charm of Elf. By the time it’s over you’re whisked up in the power of Christmas; contagious and warm. It’s the fifteenth anniversary, but watching Elf now feels a bit like the first time.

What do you think? Does Elf make your yearly watch-list? What other Christmas films do you love? Let us know in the comments below!

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