Now It certainly isn’t going to win any Oscars, and I very much doubt that any stage adaptation would garner any Tony awards, and I frankly have no idea what sort of critical reception the film will receive; however, with all that being said, I really couldn’t have had a more enjoyable time with Netflix and Dolly Parton’s fabulously awful and good hearted musical delight, Christmas on the Square. The pseudo-simple tale of a Scrooge-esque woman planning to sell her home small town, told in a musical fashion with songs and a performance by Dolly Parton, as an all seeing winter angel. And yes it’s exactly as bad and marvellous as that sounds.

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Let’s unpack the phrase that I feel I’m going to use most in this review; “delightfully awful”. There is no doubt in my mind that this film is nothing more than a serviceable 5/10, but in my heart I do want to give 10, just for the sheer enjoyment level alone and the extent of delight that it offers. For if you put the film on and allow yourself to get swept up by the truly astonishingly bad lyricism and toe-tapping numbers, along with the obscenely over-the-top performances of the ensemble chorus, than I have no doubt that you will enjoy this film too. Particularly if you are a fan of musical theatre, Christmas and/or the work and persona of Dolly Parton. Dolly wrote the music and lyrics for all of the songs, as well as appearing, and the songs do range drastically in their quality. The film opens with a truly wonderful extended opening, in a similar vein to Belle, and I have to say that viewing this for the first time I honestly felt as if the film would be my favourite (or at least most enjoyed) film of the season. With its splendid choreography, old timey sets, absurd performances and even more absurd lyrics. Again, this was an enjoyment based more so in irony and a relishing of the camp splendour of it all, rather than a genuine rooted admiration for the piece. However I don’t really think that I would prefer a piece of a greater quality, for it is in the clumsiness of this that I found my most enjoyment. Dolly’s performance herself strives more so for quality in its singing than in its acting, but I guess that is naturally to be expected.

The basic plot consists of your average Scrooge tale fare, with Christine Baranski on marvellous form as the daughter and inheritor of the small town that she grew up in. The script for the film is written by Maria S. Schlatter and really is a rather dull piece of writing, with most of the humour in the piece coming from Dolly’s fantastic (if often ridiculous) lyrics. Halfway through, the film takes a stark U-turn into a serious Brain Tumour and unwanted pregnancy drama, this is where most of the deeply religious overtones of the film come through, for better and for worse in regards to the heavy-handedness of the writing. All of this is brought to the screen by Debbie Allen, who takes the seemingly more stage-based approach to filming musical numbers and often holds the camera back, preferring large landscapes to extreme close-ups. I’d say that Allen does a fine job, but the film really isn’t anything to write home about when it comes to its visuals. The second term to unpack here with this film is “fabulously festive”, but this one is pretty self explanatory. If you’re looking for a brand new Christmas film that is overflowing with baubles and angels and wintery settings, then this really is the new release film you want to be watching this season.

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Because let’s just get one thing straight, no matter how shoddy the material may be, it is still in the hands of some our greatest performers, mainly our lead actress, the sensational and incomparable triple threat goddess Christine Baranski. Who manages to show off all but one of her many talents, with unfortunately no dance number in sight for her, despite lots of very good classic Hollywood choreographed and shot musical numbers with dance breaks. Baranski does however sing naturally wonderfully and is given some chances to show her acting range, despite the melodrama of the material, highlighting both her comedic and dramatic chops. Baranski really does steal the show and nobody would really expect anything less. Dolly does do her do best and she is great too, but Baranski can’t help but simultaneously ride the line she does so well of being tremendously above the material, whilst never looking down on it and always giving 100% of what is being asked. If this review reads more so as a love letter, it’s by design, Baranski truly is one of our great talents and I hope that this spurns on a return to form for the star. Jennifer Lewis is a standout amongst the ensemble of very over acting supporting townspeople, ranging from genuinely absurd work, to some ok performers clearly just doing their best. This all sort of leads into the other prevailing issue with the film; it’s budget, which is clearly startlingly low. Many of the sets and costumes just feel like a very cheap TV movie, and who knows, maybe this is Netflix’s new model for these sorts of productions.

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An as aforementioned bundle of genuine delights and terrible nonsense tied up in an unavoidably watchable and sincerely loveable musical treat. Or in other words a very watchable and enjoyable shoddy 5/10.  And frankly, isn’t Dolly Parton the Christmas Angel that we need this year? And also, frankly isn’t it about time that Christine Baranski lead a damn movie once in a while? Lord, my Christmas is simply for more, more, more.

P.S. It keeps changing, but I would have to say that my current favourite delightfully awful and fabulously festive lyric is “So take your money now, or withdraw it daily. Cause your life isn’t wonderful, and you are not George Bailey”.  

P.P.S Best Christmas Baranski film is still Grinch. She ain’t ever going to beat that fairy light machine gun. All-time Baranski moment will never not be Does Your Mother Know? I mean, come on, let’s just be honest with ourselves.

-Thomas Carruthers