The premise is ludicrously simple. Ralphie wants a Red Rider BB Gun for Christmas. It’s his one aspiration. His sole desire in life. But of course, every conceivable adult simply dismisses him, their choice phrase being that mainstay of our modern lexicon, “You’ll shoot your eye out!”
Peter Billingsley remains an icon of the 1980s much in the same way Fred Savage would become one a few years down the road. In fact, it’s no surprise. Because their performances were of a very visual nature but it was the insights of their adult selves (in this case Jeane Shepherd) that lent a certain irony to everything they did in childhood.
Look at Bob Clark’s film and The Wonder Years and you see some very plain points of similarity. Most obviously the television series borrowed this narrative device liberally from its very conception. It lets its young protagonists’ imaginations run wild in colorful ways, but Ralphie did it first.
What proves to be most appealing about this perennial Christmas marathon favorite is the very fact that there is very little agenda and it functions mostly as numerous bits and pieces of anecdotal experiences related to us in a matter-of-fact fashion.
There are the infamous triple dog dares that lead to the inevitable pole licking at the school playground. There’s the ever notorious leg lamp, won in a contest, their proud father’s (Darren McGavin) glorious victory exhibited for the whole neighborhood until their mother (Melinda Dillon) breaks it accidentally on purpose.
It’s the era of Little Orphan Annie on the radio, ovalteen, decoder rings, The Wizard of Oz, and Bing Crosby and The Andrew Sisters singing their greatest hits. Parents resorted to archaic forms of punishment, namely, mouths washed out by soap and the threat of bodily harm.
In the schoolyard, the roost is always ruled by the biggest bird until it comes out that the bird, in this case, one Scut Farkus is actually a chicken after an unfettered Ralphie begins whaling on the resident red-headed bully.
The infamous bunny suit from Aunt Clara donned by Ralphie on Christmas morning is one of the lasting images as is younger brother Randy wrapped up in puffy winter clothing, or watching a defeated Ralphie get slowly nudged down the slide by a griping Santa Claus at the local mall.
The now anachronistic Chop Suey Palace makes an appearance as does Ralphie’s Old Man’s constant curse-laden crusade against the furnace. Each subsequent tale is contained as part of this familial lore, a bit murky and at the same time mythical. It turns out to be absurdly even darkly comical in its vignette-driven escapades but that provides much of the substance of its charm.
However, that very nature makes it difficult for me to become unequivocally attached to this picture. Because it’s not an exercise in pathos, though still being steeped in nostalgia and references to the mores of Middle America in some far off, bygone era. It evokes the period but does so with a somewhat trivializing sense of humor.
But what strikes me about the picture, specifically in the Christmas scenes is how the most memorable and, dare we say, “special moments” that we remember around the holidays are the ones with mishaps and circumstances that while derailing our perfect expectations, simultaneously become our most cherished memories. Because life at its best isn’t a cookie cutter experience. It’s full of all those misshapen weird outcomes that bulge out and disrupt life in ways that we can only look back on and laugh. Christmas was never meant to be perfect. Have you looked in the mirror lately? As humans, we are far from it.
That’s what this story sums up quite impeccably. It’s not so much a moral tale or a movie of themes but the scripting and setting get at the essence of a time and place where desiring a Red Rider BB Gun is enough. There doesn’t need to be more — at least not in childhood — that’s what adulthood is for. Even then a child-like perspective, especially during the holidays, is something to be desired.