No films fit the vibe of this time of year better than Tim Burton films. Though as a child I used to be mildly terrified of his freaky animation style (in fairness I was scared of a lot as a child), I’ve come to adore the uniqueness of it and the atmosphere each movie creates. A particular favourite of mine is 1993’s The Nightmare Before Christmas, and as it’s currently that time of year, I’d like to break down why I think you should get your viewing in before December hits.
To briefly summarise the plot if you haven’t seen it – I’ll keep it largely spoiler-free! – Jack Skellington grows tired of the routine of preparing for Halloween and discovers Christmas, which he attempts to bring to his fellow residents of Halloween Town by various means (such as kidnapping Santa).
The critical involvement of both Halloween and Christmas to the plot often leave people uncertain as to whether the film is best enjoyed in October or December. November becomes the perfect compromise because for me, the aesthetics of the film as well as certain character arcs pertain more to Halloween, leading the start of November to be my ideal time and December to be a little too late.
Tim Burton’s animation style is noticeably gothic; the exaggerated features of the characters, old-fashioned set designs inspired by the 1960s in particular, and muted colour palettes come together to create wonderfully eerie atmospheres perfect for spooky films. In particular, the unique way his clay characters’ eyes are designed really adds to his work. The eyes are often very large with small pupils, giving his characters a slightly startled appearance as well as having the whites of their eyes starkly contrasting the rest of their body. This adds immensely to the joyously unsettling ambience of the films, and also makes room for lots of distinct expressions that add to the emotional elements. Sally is perhaps the best example of this in A Nightmare Before Christmas, having huge sad eyes that enhance her tragic longing for Jack’s love.
Sally is my favourite character without a doubt, and her song in particular captures just how much the music adds to the atmosphere of the film. Other songs, such as the iconic ‘This is Halloween’ or ‘What’s This?’ which follows Jack’s discovery of Christmas, have a very distinct vibe that matches the holiday they relate to. But ‘Sally’s Song’, sung by her voice actor Catherine O’Hara, is a lovely melancholic lament about her unrequited feelings for Jack. This ghostly lullaby-like song perfectly captures the atmosphere of the film: it has the gothic undertones of Halloween Town and its spectral inhabitants, but it also holds deep emotion and a glimmer of hope, just as Jack’s search for something more than gloom ends up bringing him. I highly recommend listening to Billie Eilish’s cover of ‘Sally’s Song’, which you can find here – her voice is perfect for the mournful, ghostly tone of Sally.
The romance between Jack and Sally is arguably one of the loveliest elements of the film, and it follows so many conventions that fit more eagerly with the gothic, spooky vibe than the typical Christmas film. Because of their imbalanced roles in the society of Halloween Town, and because of Sally’s overbearing creator Doctor Finkelstein, they easily fit the forbidden love trope. Largely because of this, Sally assumes for a long time that her feelings are unrequited. The image of the pair atop a spiralling hill, silhouetted against the moon, is iconic for a reason – the pair make the pinnacle of Halloween romance, and are a popular choice for couple costumes still today.
The story of A Nightmare Before Christmas is about not being afraid to explore new horizons, but also about appreciating what you have in front of you. A story of finding love where you are as well as looking forward to what new possibilities the future brings undoubtedly carries traces of the Christmas spirit. However, the immaculate ghostly atmosphere of the iconic Tim Burton Claymation style, as well as the quirky, oftentimes lamenting soundtrack mean that the Halloween vibe dominates the film’s overall aesthetic. This makes November the perfect time to watch: one final burst of spooky season vibes, with a story that warms the heart to make way for the festivity of December.
Other Tim Burton recommendations from me are, of course Coraline, Corpse Bride for the joy of his animation style, and Sweeny Todd: The Demon Barber of Fleet Street if the musical aspect is what you’re looking for, or if you fancy live action for a change!
Image by ChiekoY on Flickr