This is one of those made-for-TV Christmas movies. It’s not a Hallmark or Lifetime movie, but it’s the same kind of thing. There’s an over-the-air channel that shows nothing but these kind of films during December. I can’t stand most of them; they tend to all hew closely to a formula that goes like this: the prince of some non-existent country meets a woman with a regular job, they fall in love, they have some sort of absurdly contrived misunderstanding and break up, and then they reconcile in the last five minutes.
Also, the writing tends to be dull, the acting usually isn’t anything special (sometimes the “villains,” like jealous sisters or whatnot, are good) and it’s just generally unmemorable.
Christmas Crush is different. The premise is that the protagonist, a young woman named Addie (Cindy Sampson), makes a wish after a friend tells her wishes can come true at Christmas. Addie wishes for her next-door neighbor to fall in love with her.
She’s thinking of the shy but charming Sam. (Robin Dunne.) But she doesn’t know that an old acquaintance of hers from school, Pete Larson, (Chris Violette) has just moved into the other apartment next to hers. And when her wish comes true, it’s Pete who falls in love with her, becoming obsessed, following her around, bringing her unwanted gifts, and even breaking up with his actual fiancée to propose to Addie. Naturally, all this ruins her attempts to go out with Sam, since from his perspective, Addie appears to have been simultaneously dating an engaged man.
Now, it’s true: a supernatural magical Christmas wish is an even more outlandish premise than the prince-traveling-incognito plot I complained about above. Princes at least actually do exist. But it’s the details that matter. This is a modern version of Victorian dramatist W.S. Gilbert’s classic “lozenge plot,” in which a magical device causes some sort of upheaval to the social order. He used this most famously in The Sorcerer, a comic opera in which a magical love potion causes everyone to fall in love with the wrong person.
Gilbert got his start writing pantomimes. These were entertainment staples of Victorian Christmas, and featured similar outlandish plot conceits. They featured stock characters and generally relied more on spectacle than writing to wow an audience, but there’s a clear line of descent from the craziness of Christmas pantomimes to Gilbert’s signature topsy-turvy satires. (And to be honest, it goes all the way back to Saturnalia, a Roman winter festival during which traditional social norms were temporarily suspended.)
What made Gilbert’s impossible supernatural devices work so well is that they were the only impossible element. Gilbert would create one bizarre, fantastic concept, and then have everything else proceed with perfect logic and consistency from there.
The same thing is going on here. Addie, Sam and Pete all behave logically and consistently given the one absurd premise. The characters’ personalities don’t change on a dime for the sake of the plot. The entire story is based on watching the hilarious consequences of Addie’s non-specific wish play out.
That’s the other thing about this movie: it’s funny. The script is snappy and clever. There’s an extended scene with Addie trying to talk to Pete’s ex-fiancée in a Christmas store that makes me laugh out loud. I’d be remiss if I didn’t mention the performances of the supporting cast: Konstantina Mantelos as Pete’s jilted fiancée is great, as is Erica Deutschman as Addie’s friend Drea. It was nice to see the two female leads working together as friends, instead of being rivals for the same guy.
There is also the character of Mr. Donner (I couldn’t find the actor’s name.) He is an important client of the firm Addie and Drea work for, and there is a subplot with them planning a Christmas event for him. There’s a running joke where someone will call it “the Donner party” and someone will quickly correct it to “the Donner event.”
Donner never speaks throughout the film. His performance is purely in his expressions. I loved this touch. Screenwriters take note: less can be more.
The film culminates with the Donner event, which includes an impromptu song by Pete in another over-the-top effort to woo Addie. Addie then gives a speech about the power of Christmas wishes. I won’t say more, even though it’s not really the kind of movie you can spoil. I mean, we all know what the ending will be.
And yes, I guess there is a last-five-minutes reconciliation with Addie and Sam, too. But again, it’s how it’s done that matters. Addie’s wish wasn’t to marry a prince, or a millionaire, or even to get married at all. She just wants to go on a date with a guy she likes.
This movie is fun. Everything about it is a cut above the usual Christmas TV movie fare. The writing is wittier, the acting is better, even the set design is more believable. Normally, people in these movies live in fabulous winter estates. But these characters just live in apartments, albeit very decorated ones.
It’s easy to make fun of feel-good holiday movies because most of them are bad. But you could say the same of most big budget Hollywood movies, actually. Most instances of every form of entertainment are fairly forgettable, to be honest. The fun is in finding the ones where the people who worked on it went the extra mile to make it good. Christmas Crush is one of those.