Christmas Eve in Miller’s Point

Kitsch accompanied nostalgia all through, through the good and bad times, through the joys and through the sorrow. The ones who seek the past seem to be artists who combine kitchen sinks with flowers and linen. Tyler Taormina’s Christmas Eve at Miller’s Point contains an oral narrative that is both specific and broad in nature; a wide, middle-class Italian American family with neon Christmas lights on standoffish ornaments, on Christmas Eve night, and presents everything-through its numerous characters-in the course of a single night’s events: Christmas Eve.

The director creatively includes Proust’s madeleine by using themed French festivities and the apparently inept characters in the film. It is a beautiful American dream that has been painted in such a way that conveys fun rubs along with devour, gossip, cheers, and fights followed as the characters devoured again. A series of near drunken camera angles compose the family reunion an odd menopause, in place of staring at a couple of clips of the old feisty male made with the old American interior design style bathroom. The chaos is the reason why the narrative gets away without a plot. The sound elements of the film are dominated by the representations of informal family gatherings, with a clank of knives and forks combined with singing, along with people talking at the same time, rather than separately.

However, this and other flashes of brilliance are frequently drowned out by a surplus of Hollywood cliches and make Christmas Eve at Miller’s Point feel less satirical than it should be. When Taormina puts the last sugar cube in his eggnog watching pictures of childhood, which seems to be idealized, gets overwhelmed with nostalgia. Nevertheless, somewhere on the road to the filmmaker’s Little Italy the audience will see the Rorschach of his own warm memories and that makes up for at least a few of the film’s major faults.

Tim O’Leary’s Christmas Eve in Miller’s Point feels like being in the presence of a person who perhaps takes the spirit of Christmas a bit too far. They shave the days before they will be able to decorate the Christmas tree, their childlike excitement in the waiting period feels insufferable. While Tyler Taormina’s third film does not repel, it definitely tries a bit too hard in its efforts to believe in the extraordinary charm of the Christmas season.

As all the family members welcome one another and the noise goes into a crescendo shouting their affection, the holiday reunion from the Italian American family is introduced. The climax of the scene is perhaps best articulated from a child’s perspective as tucked in between two overly affectionate grandmas there’s always one in the background waiting for her turn. The movie is able to help transport its audience in these moments of the film by tool of irony leaving hidden obstacles amidst the warmth of family gatherings and overbearing love which is socially acceptable. It is also true to say, the Christmas spirit is amplified by the Christmas theme decorating all of the major components of the movie intertwining with comedy throughout the chaos.

What I find hard to understand is how and why do people find it fun. Hiding every shock almost becomes a primary objective for 3 character perspectives all of whom happen to be in the same family dedicated to focusing on different family members. Surprising nobody, a perspective Shot is also used for the dirty dog catching sight of a deer over the window. Christmas in Miller’s Point does not seem to lose its focus thanks to the unique touch adding to the chaos giving it a sense of direction although at times one gets the impression they are watching a longer version of an advert, boring in the long run.

Similar to a long lost VHS tape that somehow managed to survive Banys vacationing in his parent’s attic, Tyler Taormina brings to life the Christmas get together of an Italian American family living in the suburbs in his latest offering Christmas Eve in Miller’s Point.

Merry Christmas, We Wish You a Merry Christmas and Merry Merry Christmas Everyone usually begin in the background, accompanied by younger relatives shouting and laughing outside the room, ready to storm into the family’s living room. One can also often imagine some teenager embarrassing themselves trying to film the holiday commotion, thumb covering half the camera in the process. Get ready for the Canadian movie version of a more alternative Thanksgiving. Taormina’s favorite offering for Christmas dinners is chaos, and he is determined to capture the exact moment relatives start to storm into whichever corner of Balsano’s household they can find. And although the editing in this film can make interpersonal relationships seem incoherent, which results in most subplots introduced in the beginning not getting proper conclusions, it doesn’t detract from the abundance of M&Ms and other exciting details of the Christmas decorations featured in this film.

Taormina, understanding the Christmas film cliches and its iconic Coca-Cola holidays ads, allows the Christmas excitement to be felt in Miller’s Point on Christmas Eve by the joy demonstrated by the children as they rush down the stairs to tear apart their gifts. There is now a feeling of heartbreak as the uneasiness felt before a Christmas meal where family that only gets together once a year arrives, something that is either pleasurable for a few or an uncomfortable duty for most.

Christmas Eve in Miller’s Point does not simply re-enact the Christmas feast alone. Hence the title, which suggests characters, drama and tussles of a family that has come together for Christmas lunch. The image has psychogenic layers of experimentation. The American cliche opens with car-dolly over suburbia minus people, just lights. There is something compelling about that time of the year; a perfect blend of charisma and memories. The time of the year is always perfect. The motion of the camera hides a cut whereby the view is flipped over and the perspective has changed in the final cut. That cut however in the scene changes abruptly as it goes to a zoom cut of a boy in a sitting position in a vehicle who is resting on his neck while looking out of a window.

Each and every one of them is consistent in their desire not to remain with the strong, active attention grabbing compositions of the so-called family members which has been crafted with care and intent: striking fire truck lights where streaks of light form the Americans Colletivists, or the family shots tightly framed on a tube television. This inability to let any space for ambiguity is clearly evident in the rest of the film as well. The various family member bonds are too strong and too extreme to the point of not being developed enough.

The way the credits roll is similar to how epilogues are shown in Full House; this is how the film ends, accompanied with a nice picture, this time devoted to the production team. It is not that Christmas Eve in Miller’s Point is totally full of nauseating mush, but it does possess a feature that is impossible to miss; the taste of crude unrefined honesty.

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