Christmas Karma: A New Yearly Festive Rewatch?

Paul Evangelista discusses Gurinder Chadha’s film adaptation of A Christmas Carol.

In 1992, Michael Caine portrayed Ebenezer Scrooge with the gravitas and sincerity of a Shakespearean performer, surrounded by an ensemble of muppets. In 2009, Scrooge came to life as an uncanny motion-capture creation in Robert Zemeckis’ computer-generated fever dream of a film. Now, this festive season, the same character gets called a wasteman during a song and dance sequence.

Christmas Karma is the latest rendition of Charles Dickens’ A Christmas Carol, this time – a Bollywood-inspired musical set in modern-day London. The film stars Kunal Nayyar in the role of Eshaan Sood, an ‘Indian Tory who hates refugees’, as described by writer and director Gurinder Chadha. Her adaptation of Scrooge embarks on a journey of self-discovery with the three otherworldly ghosts. In her first foray into the fantasy genre, Chadha mixes Dickens’ classic story with her own tender approach of highlighting Indian British stories (with Blinded by the Light and Bend it Like Beckham as incredible career highlights). However, the final product leaves more to be desired, with the tone and direction feeling all over the place.

Characterisation

Sood is not just tired and grumpy; from the second he waddles on screen, Nayyar portrays him with the intensity of a supervillain, scowling at everyone he comes across with furious rage. Throughout the film, there is a pantomime-like quality to his performance: always over the top but never boring.

Sood is tortured from having to deal with cockney cabbie Danny Dyer, writhing in pain at his unfunny jokes. He frowns at anyone who even remotely thinks of spreading Christmas joy, disapproves of song and dance numbers in his near-windowless office.

Nayyar fully commits to the role, exaggerating his character in a way that feels cartoonish. Although the messages of the original text are not subtle, it is often hard to see him as a real, believable character. That said, Nayyar shines during the film’s quieter moments, where he delivers a convincingly melancholy and thoughtful performance during dramatic scenes.

Reflecting on the past

At times a comedy – other times a serious drama – other times a musical, Christmas Karma suffers from trying to be everything at once and not mastering any of these genres. While the plot and structure closely follow its source material, its biggest changes can be found during the ‘Ghost of Christmas Past’ segment, in which Sood looks to his childhood.

He is shown to have been born and raised in Uganda, displaced from his home and best friend after President Idi Amin’s order for the expulsion of Indians in year 1972. Grainy archival footage is used here to demonstrate the plight of the situation and it does feel both educational and upsetting. Although, following the scene of a drunken passer by projectile vomit 15 minutes prior, gives the film a wicked sense of a tonal whiplash.

In another scene, Sood, along with the Ghost of Christmas past, visit a flashback to when he is racially attacked during Christmastime, while a soft version of Silent Night plays in the background. It is a harrowing scene (especially for a PG rated Christmas flick) and one that shows the Indian/British dysphoria that writer/director Chadha usually excels at.

However, all emotional impact disappears when the score adds Boy George’s vocals to the mix, bringing it to melodrama and once again, reminding us that this is a musical. There are some touching moments in this film but ultimately, many of them fail to pack a punch.

Cinematography

Much like the dramatic beats, the musical numbers are hit and miss. The songs, while somewhat listenable, are weighed down by the poor lip-syncing, autotune and uncreative writing. The cinematography does not do any favours; rather than feeling like a whimsical extension of reality, the numbers are filmed so plainly it is hard to get excited by them.

There are standout scenes: a number depicting a blossoming relationship utilises a soundstage to create striking silhouettes; a Bollywood inspired house party feels fun and wild; and a scene where Bob Cratchit empathetically sings to his family about Sood genuinely feels touching and intimate. Apart from these, however, the rest of the numbers fail to justify the movie’s existence as a musical. Hours after leaving the cinema, I tried to recite any of the songs from the movie (excluding the new rendition of Last Christmas that plays during the credits) and, unfortunately, could not follow through.

Perhaps I am too optimistic or maybe, it is the fast-approaching Christmas season. Whatever the reason, I wish I could feel more positively about Christmas Karma. The film showcases interesting ideas and does feel like a fresh interpretation of a timeless classic at times. But ultimately feels like a jumble of tones and musical numbers that mostly feel bland. Unfortunately, this may not be a yearly festive rewatch.

My Rating: 2.5/5

Words by: Paul Evangelista