Ernest Saves Christmas (dir. John R. Cherry III, 1988)
I think most of the film’s appeal comes from Douglas Seale, the actor who plays Santa Claus. Seale embodies Santa better than many other actors, coming across as just a genuinely nice guy. A guy so nice that he doesn’t understand sarcasm, and a man so decent, he vehemently objects to horror movies with cuss words in them. He loves kids, and hates that he has to give up his job. “Santa,” you see, is a title passed from person to person, and only the most loving and decent of (fat, bearded) people are allowed to take on the role. Santa has found a successor in the form of Joe (Oliver Clark), a sweet-hearted man who is trying to be an actor, and can only make ends meet by starring in objectionable monster movies.
So, yeah, the film is pretty sweet, even though it’s a slapstick comedy on the surface. And the magic of Santa Claus is handled well; reindeer arrive at an airport warehouse, and begin flying around the closer it is to Christmas night. Since Santa is having so much trouble convincing Joe to be the new Santa, it’s up to someone else to fly the sleigh until things can be patched up.
That person is, of course, Ernest (Jim Varney) who now has a job as a cab driver. Ernest loves Christmas, and believes in Santa. And while he’s the one who does indeed save Christmas, it’s odd how little he plays into the film’s central plot. He’s like a Dickens character this time around: Not the instigator of action, but a colorful supporting cast member who carries the drama’s personality. This is the best way, I think, to deal with Ernest. Caught up in things he can’t control. For this reason, Ernest Saves Christmas and Ernest Goes to Jail are the best films in the series.
There is a subplot surrounding a runaway teen girl (Noelle Parker) who needs to be convinced by Santa to return home. She’s not nearly as obnoxious as – and is certainly more memorable than – the kids from the previous movie, and seems to have a dramatic arc.
I don’t want to give the impression that this trifling kid flick is a great film – it’s not exactly Miracle on 34th Street – but I can’t think of anything too wrong with it. But there are those out there who love it to death, and I will do nothing to impugn that affection. Unlike the last two Ernest movies, this one feels like, well, a real movie. With a structure and a plot. All peppered with the usual Ernest lazzi.
This is Ernest at the height of his powers, and the series at the height of its success. The next film in the series will be equally strong. Come back next week for an analysis for Ernest Goes to Jail, the Halloween installment, Ernest Scared Stupid, and the only Ernest film to lose money, Ernest Rides Again. It’ll be a great read, Vern, KnowhutImean?
Witney Seibold is a featured contributor on the CraveOnline Film Channel, and co-host of The B-Movies Podcast. You can read his weekly articles Trolling, Free Film School and The Series Project, and follow him on “Twitter” at @WitneySeibold, where he is slowly losing his mind.
