Yesterday we looked at a film that shone a spotlight on how one man can make a difference in the many lives he comes in contact with. Today, we’re looking at a film where an eight-year old boy comes to realize he doesn’t need anyone to make it in this world. Of course we’re talking about Home Alone: the family comedy without the family. Home Alone was released in 1990 to much success. While hardly a critical darling, it raked in the money as kids everywhere lined up to see Kevin McCallister take on two bumbling bandits and show that kids do indeed rule. The film also made a household name out of Macaulay Culken who would have a short reign in the public spotlight before puberty uncomfortably ruined all of that.
Home Alone is a Chris Columbus directed picture that feels like a John Hughes directed one. That’s because Hughes produced it. And it’s probably thanks to Hughes that John Freaking Williams was brought on to score the picture. That’s a factoid that always marvels me, this little picture aimed at children had a Williams score. Even though Home Alone manages to elevate itself out of similar, but lesser films, like Problem Child it probably didn’t pitch any better, so for Williams to sign-on to do it just boggles my mind. And to make it even more incredible, Williams wasn’t even the first choice!
Home Alone was also Columbus’s second attempt at directing a major Christmas production. He was originally supposed to direct National Lampoon’s Christmas Vacation, but he apparently didn’t get along with Chevy Chase. Home Alone feels like a decent consolation prize for dealing with Chevy. The film is very much a comedy, relying heavily on physical comedy and the uncomfortable situations Kevin puts the adults around him into.
The premise of the film is pretty ridiculous. Kevin’s family, including several members of his extended family, are all going to Paris for Christmas and he, being the black sheep of the clan, gets left behind. I don’t think we ever find out what Kevin’s parents do for work, but the fact that it’s his dad paying for everyone to go to Paris makes it seem pretty laughable that he seems upset with Kevin for using his new fish hooks to make Christmas ornaments. I don’t think a package of three cost as much as a dollar in 1990. Anyway, a power outage and a mad dash to the airport, plus a nosey neighbor, all contribute to Kevin being left home alone. The local police, and Kevin’s own youthful imagination, even make it impossible for anyone to confirm that he’s all right when his mom calls from Paris. This is definitely one of those films that would partially break with cell phones introduced.
Meanwhile, Kevin basically thinks he made his family disappear. He goes on with life, pretty happy at first doing what probably most kids would do. He eats ice cream for dinner, watches R rated films (Angels with Filthy Souls), and goes through his older brother’s room. Eventually, he starts trying to be more responsible as he realizes he actually has to do things now, they don’t just happen. When some burglars start nosing around (Joe Pesci and Daniel Stern as Harry and Marv) is when Kevin starts to get scared, and actually miss his family. He even seeks out a local Santa about getting his family back, in a scene that is sort of touching, especially if you try to put yourself in the Santa character’s shoes.
The proverbial money shot is obviously the climax in which the Wet Bandits storm Kevin’s house full off booby traps. As far as physical comedy goes, the entire sequence is actually pretty spectacular. It’s easy to forget how hilarious it all was upon the first viewing since this is a film most people reading this have probably viewed a hundred times by now. In particular, the blow torch scene is genius. Some may scoff at an actor like Pesci reducing himself to such a role, but his facial expressions are gold. Stern is arguably just as good as the more aloof of the two bandits.
The film also takes time to highlight the Christmas holiday, and Christmas naturally has a way of making things all better in the end. Home Alone is a terrific ride, even if it’s a bit formulaic and gag-reliant. It was a magic that really couldn’t be duplicated. While several sequels have been made (only one featuring the main cast of the original), none have come close to harnessing whatever it is that made the original feel so refreshing. It’s the type of film that can’t be duplicated, which means a remake is coming to theaters in 2021.