'Ebenezer' review: Johnny Depp brings the humbug to a spirited gothic retelling
Courtesy of Paramount Pictures
Is the world ready for more Johnny Depp? That seems to be the litmus test for his Hollywood comeback vehicle, “Ebenezer,” a relatively safe bet considering the actor has built much of his career around eccentric characters with larger-than-life personalities. In fact, it’s something of a wonder that it’s taken him this long to bring Charles Dickens’ iconic curmudgeon to life. His return to a major Hollywood starring role, following years spent largely on the sidelines after his highly publicized legal battles with ex-wife Amber Heard, has understandably dominated much of the conversation surrounding the film. And given the circumstances, it’s difficult not to view this particular casting through that lens, especially when Scrooge begins making amends for his transgressions in the final act. You almost wonder whether it’s Depp himself staring back at the camera, seeking some measure of redemption.
Of course, “A Christmas Carol” has been told, retold, repackaged and reincarnated so many times that practically everyone knows the story, whether through the Muppets, a motion-captured Jim Carrey or the Ryan Reynolds and Will Ferrell musical “Spirited.” There’s hardly a version of this tale that hasn’t been attempted, which makes the prospect of yet another adaptation a questionable endeavor, even with Depp front and center. Enter director Ti West, who takes the familiar Dickens material and gives it a distinctly macabre makeover, emphasizing the supernatural horror that has always existed beneath its more sentimental Christmas trappings.
In that regard, “Ebenezer” is a considerably darker interpretation than audiences might be accustomed to, one that isn’t particularly suitable for younger viewers and even manages a couple of well-timed jump scares. West, best known for his “X” trilogy, understands the inherent creepiness of a bitter old man being visited by apparitions in the middle of the night, and he makes the most of that premise. It’s an appealing approach, even if there’s something mildly amusing about the marketing insisting that audiences don’t know this story when, for the most part, it follows the familiar trajectory almost to a tee.
Seven years after the death of his business partner Jacob Marley (a terrific Ian McKellen), Ebenezer Scrooge (Depp) remains a miserable, miserly businessman who has little patience for anyone, particularly those foolish enough to find joy in Christmas. His outlook is challenged when Marley returns from the grave to warn him of the consequences of his selfish existence, setting the stage for visits from three spirits: Andrea Riseborough’s Ghost of Christmas Past, Tramell Tillman’s Ghost of Christmas Present and the formidable Ghost of Christmas Yet to Come. Each is appropriately unnerving, with West giving their appearances an ominous quality that makes these supernatural encounters feel more like punishments than opportunities for self-reflection.
Over the course of one particularly eventful Christmas Eve, the spirits escort Scrooge through the various chapters of his life, forcing him to confront the choices, regrets and missed opportunities that have shaped the man he’s become. Along the way, he’s reminded of the compassion he has denied others, particularly his overworked clerk Bob Cratchit (Rupert Grint) and his nephew Fred (Sam Claflin), who continues extending an olive branch despite his uncle’s repeated hostility, partly out of love for his late mother.
Again, none of this is particularly revolutionary, but West and screenwriter Nathaniel Halpern recognize that there’s still plenty of mileage to be found in Dickens’ familiar material, particularly when approaching it from a different tonal perspective. Their interpretation doesn’t necessarily reinvent the narrative so much as reconsider the atmosphere surrounding it, and while the story occasionally settles into a fairly conventional rhythm, the gothic flourishes give the proceedings a welcome sense of personality. I rather admire some of the more sinister creative liberties, particularly the decision to give Fezziwig, Scrooge’s former employer and mentor, a decidedly bleak fate. It’s the sort of departure that makes this interpretation feel a little more unsettling than what audiences have come to expect.
There is, however, precious little holiday cheer to be found, which might prove a stumbling block for audiences who have come to associate this story with warmth, humor and a generous helping of Christmas spirit. This is a somber affair for much of its running time, with hardly any laughs or moments of genuine levity to offset the gloom. I understand that’s a deliberate choice, and given how thoroughly the material has been exhausted over the years, I can appreciate West’s desire to shake things up. Still, there’s something to be said for the playful exuberance that has defined so many of the more memorable adaptations, and occasionally I found myself missing that familiar sense of merriment.
You know, on second thought, maybe this one could have used a little more Kermit.
But what’s particularly satisfying is how West gradually allows that oppressive atmosphere to give way to something more hopeful. Scrooge’s redemption is, of course, a foregone conclusion, but the film doesn’t treat it as a mere obligation to the source material. After spending so much time immersed in the character’s bitterness and regret, there’s a genuine emotional release in watching him rediscover the compassion he’s spent a lifetime suppressing. It’s a familiar transformation, certainly, but one that still carries weight, and West earns those final moments without sacrificing the darker sensibilities that distinguish his interpretation.
Much of that success belongs to Depp, who makes quite a meal out of the character, delivering one of his strongest performances in years without resorting to the excessive mannerisms that have sometimes overwhelmed his work. This is precisely the sort of role he loves to disappear into, yet what’s refreshing is how relatively straightforward his interpretation is. He doesn’t bury Scrooge beneath layers of eccentricity or turn every utterance of “Bah, humbug!” into an elaborate theatrical exercise. Instead, there’s a bitterness and rigidity to his performance that gradually softens as the character comes to recognize the life he’s squandered. Depp understands when to indulge the theatricality and, perhaps more importantly, when to let the quieter moments speak for themselves.
At 63, Depp remains a commanding screen presence, and “Ebenezer” offers a fitting opportunity to reintroduce him to mainstream audiences in a role that plays directly to his strengths. Whether that translates into a larger Hollywood resurgence remains to be seen, but there’s little question that he understands the character and brings an appealing balance of eccentricity and restraint to the proceedings.
Ultimately, “Ebenezer” is an enjoyable and occasionally inspired interpretation of a story that has already been stretched in practically every conceivable direction. West’s gothic sensibilities lend the material a distinctive personality, and while the film could use a little more holiday cheer and a few additional surprises along the way, it remains an engaging retelling with a satisfying emotional payoff. Depp, meanwhile, proves he’s still more than capable of carrying a major Hollywood production, finding just the right balance between the miserly Scrooge and the man he’s capable of becoming. There’s something rather fitting about that, particularly for an actor whose own future in Hollywood has been the subject of so much speculation. “Ebenezer” might not reinvent Dickens’ classic, but it finds enough life beneath the gothic gloom to make this familiar Christmas haunting worth revisiting.
Grade: B-
EBENEZER is now playing in theaters.
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