Richard Curtis' latest animated Netflix offering, "That Christmas," shares more than a mere passing resemblance with his beloved holiday masterpiece, "Love Actually." Although catering to distinct audiences—one as a whimsical family film for children, the other a heartwarming romantic comedy—both motion pictures intricately intertwine multiple narratives amidst the festive yet frenetic backdrop of the Christmas season. During a pre-release interview with Polygon, Curtis humorously highlighted a pivotal distinction between "That Christmas" and its predecessor: "There's no nudity, and very little swearing," he quipped.
Helmed by director Simon Otto with a script penned by Curtis and Peter Souter, "That Christmas" is an adaptation of three enchanting Christmas-themed children's books authored by Curtis and illustrated by Rebecca Cobb. The tome "That Christmas" revolves around a group of kids who, left to their own devices as their parents are unexpectedly stranded at a wedding, devise their own festive celebrations. Meanwhile, "The Empty Stocking" chronicles the tale of twin sisters—one virtuous enough to land on Santa's nice list, the other a bit mischievous this year. Lastly, in "Snow Day," a lonely boy finds himself spending an unplanned afternoon with the sternest teachers at his school.
However, in this cinematic adaptation, all these stories unfold within the cozy confines of a single, charming little town, where the characters are interconnected and their plots intriguingly cross paths—a storytelling technique that Curtis holds in high esteem. "I've always been partial to [hyperlink cinema], especially Robert Altman's films like 'Nashville' and 'Short Cuts,' and I adore 'Pulp Fiction'—how they seamlessly blend interconnected stories," Curtis remarks. "So, where 'That Christmas' aligns with 'Love Actually' is in its rich tapestry of characters and numerous tales that intertwine in subtly unexpected ways."
That Christmas bestowed upon Curtis a remarkable opportunity. Transforming his concise picture books into a comprehensive screenplay afforded him the privilege to elaborate on the sparser details and bring the characters to life with greater depth. Take for instance, the introverted child who stands as the focal point of Snow Day. Curtis and Souter delved into the reasoning behind his solitude, pondering questions like, "What occupation does his mother hold? What fate has bestowed upon his father?" According to Curtis, the entire endeavor was exhilarating, albeit with its own set of challenges—ensuring that each disparate plot thread seamlessly interwove. Fortunately, Curtis had garnered experience from Love Actually to rely upon in this regard.
"One crucial lesson we gleaned from Love Actually," he elucidates, "was the realization that when we initially embarked on the project, I presumed it would follow a linear narrative—one story after another in sequential order. However, in reality, you must dedicate substantial time to each tale, fostering a profound connection with the audience before transitioning to the next. This was a profound lesson. We often presumed scenes would be fragmented, yet when we reintegrated them, the narrative became far more captivating. It's akin to engaging in a game of three-dimensional chess, where any segment can follow any other with endless possibilities."
The narrative craftsmanship that Curtis honed during his tenure on Love Actually isn't the sole thread tying the 2003 film to That Christmas. The animated feature subtly pays homage to the romantic comedy in a delightful manner. One character expresses their dismay at the yearly ritual of watching the same monotonous Christmas film. Lo and behold, a scene from Love Actually—specifically the iconic one with the signs adorned on the doorway—flickers across the television screen. This whimsical tribute is particularly enjoyable for those acquainted with the shared heritage of both movies. Ironically, Curtis was unaware of this playful nod until the final edit.
"I was taken by surprise!" he chuckles. "As I watched the final movie, I assumed it would be a clip from some dreadfully dull, black-and-white American film. Imagine my astonishment when it was my own movie! I couldn't very well complain, for if they deemed it a tedious, old Christmas film, then perhaps it was!"
