Christmas Eve in Miller’s Point

Christmas-Eve-in-Miller's-Point
Christmas Eve in Miller’s Point

The holiday decorations and garlands covered with lights and colors have a lot of grandeur this time. There are older folks sleeping in their chairs while siblings are fiercely arguing and drinking around the table somewhere in the middle of the age. Younger children try to stand still where they are lying down in order to avoid falling asleep for that is when they will miss Santa. Meanwhile, angry adolescents storm out of the house into the stillness of the countryside. “Oh, don’t even talk about chestnuts over the open fire; this is a glamorous place.” Taormina is able to live to the comic spirit of the season in the same way little to the extent that is recommended in “Christmas Eve in Miller’s Point” which day of Christmas seems to be the best for the celebration. Taormina allows this to come through his more at-ease viewpoint in the book as he is a millennial and a painter all at the same time while being exposed to the holidays from different perspectives. The American Christmas offers a wide variety of fun for everyone.

We discover that the scene that takes place at the moment without the reverence that has been so desired begins in the year two thousand. Four generations from the Italian-American family called Balsanos argue. It’s delightful.

Over the next two months, the teenage Emily (Matilda Fleming) plays with attitude and obstinacy as she faces her mother Kathleen (Maria Dizzia). At the same time, her father playful actor Ben Shenkman in a dull fashion anticipates this night of getting to know the in-law family and so drives to his wife) Keller family house in Long Island. While on their way, they cross a police car, and inside of it are two of the most abyssal traffic officers in the third dimension happen to be Michael Cera and Gregg Turkington who later in the other episodes render the mood feeling tension wrapped in the naive side of unconscious homoerotic warmth.

Kathleen and Emily’s dynamic is echoed in the rather cold and distant greeting Kathleen gives her advancing-age mother. She is conscious that she does not go to see her mother as often as she should and that life gets busy, but explains to nobody in particular. The bustling house starts to naturally segregate young people huddled together in the den where their cousin is playing video games, while Emily and her cousin Michelle, who bears a striking resemblance to Francesca Scorsese, gossip on their flip phones and lavish attention to their grandparents who were spoiling them. Later, she and Emily will bump into a local played by Sawyer Spielberg who looks totally bored but here the casting is nipo-baby stunt-casting as in any case, Spielberg ought to be there at a party documenting the suburban lifestyle of the American family. In the meanwhile old brother and sister with their spouses, the moderators, the cooks, the drinkers, and chief brawlers disperse into little groups around candles in the garage or over wine in the kitchen. For them, this Christmas might be the last one in so many years.

Emily and Michelle eventually manage to outsmart their elders, get away into the town and go to find some beer and look for company with the soiled professor’s waitress Michelle who was played by Elsie Fisher in ‘Eighth Grade’, and it bears some resemblance to Taormina’s beautiful and weird “Ham on Rye”. But that aforementioned film has its themes in a surreal, dreamlike, and satirical way of the American tradition of prom and this Christmas Eve in Miller’s Point does it from the typical ‘American way’ so very literally and the sincerity and sentimentality of the entire thing is so shamelessly over the top that the final product can even be called avant-garde.

It’s a bit pathetic that we don’t recall family Christmases in detail, but Taormina, his co-writer Eric Berger, and especially his production designer Paris Peterson were paying attention. They create their ideal Christmas film, which is set somewhere between Vincente Minnelli’s Meet Me In St. Louis and a corny holiday commercial of the late stretched in the ’90s, with a level of detail that is almost disturbing.

Any surreality that exists here can be attributed to the fact that it is combined with this radically self-sufficient story and a wonderfully overstuffed look at suburbia in which everything sparkles and shines, and tables are burdened with a hundred types of casserole dishes. Even those that threaten to be dramatic or conflictual, a manuscript left on a table in the hall or a missing pet lizard, become rather quiet nonclimaxes all the Chekov’s guns are loaded, but with nothing but decorating and sweet stuff.

The soundtrack is filled with the songs of Sinatra and classic pop from the ’60s. The cinematographer is Carson Lund and artistically amazing, who directed a film called “Eephus,” which Taormina produced. This film is also featured in Directors’ Fortnight. Everything is able to present the family’s different bizarre customs and traditions, in this case Christmas, as something absolutely ordinary. There is no mention of a War on Christmas, instead, it offers the best parts of Christmas and the old traditions associated with it.

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