It’s Christmas Eve in Kingston Falls, and things are getting out of hand. Danny’s Tavern has been invaded by riotous revelers who seem to be having trouble both holding their liquor and respecting decorum. Mr. and Mrs. Futterman’s own excavator was just used to crush them to death in their own living room, and Mrs. Deagle has just been launched from a second-story window as a result of the uncontrolled acceleration of her (sabotaged) chair lift.
Call the sheriff if you’d like, but not only is he corrupt—the kind of man who, in uniform, pressures a local vendor for a free Christmas tree for the station—he has also shown himself to be a coward, frantically rolling up his cruiser’s window and driving away as Santa is mauled in the street.
As if civil society weren’t already hanging by a thread, there is something seriously wrong with the mailbox outside the rectory.
But the worst is yet to come.
***
Yes, this holiday season found the Oakes family watching Gremlins, Axl (12) for the second time and Belle (9) for the first.
As you may know, Gremlins is the 1984 movie that, according to legend, is 50 percent responsible for the invention of the PG-13 rating. The other guilty party is supposed to have been the contemporaneous movie Indiana Jones and the Temple of Doom.
Apparently it was all a misunderstanding. Whether by design or accident, the marketing campaigns for both films underplayed some elements and overplayed others, giving parents the impression that the second Indiana Jones contained nothing more than the good, clean, escapist fun of the first one and that Gremlins was a cute-creature feature à la 1982’s E.T., the Extra-Terrestrial. Then children started arriving home from the multiplex with wide, staring eyes, carrying tales of still-beating hearts ripped from chests and of a not-so-cute-after-all creature being exploded in a microwave. The grownups took a closer look, and soon a panic was born.
There is an interesting cultural history here, one that starts two years earlier, in 1982, when Poltergeist was first rated R only to be downgraded to PG after appeal by the filmmakers. (Everything I’m about to say on this point is drawn from a Journal of Film and Video paper by one Filipa Antunes.) Not very many people seemed to feel, upon watching Poltergeist, that they had been somehow misled by the new PG rating, perhaps because—frights and jump scares aside—the script was extremely respectful toward the middle class, suburbia, and that quintessential American object of abstract veneration, “the family.” (Just a year or so earlier, Ronald Reagan had started talking about something called “family values,” and can it be any accident that a character in this movie is seen reading a biography of Reagan?)
The envelope was pushed further by Temple of Doom, which upped the gross-out and violence quotient quite a bit, compared to Poltergeist, but which could still be described as—if not quite family friendly—then at least friendly toward the concept of family. (See Indy’s “adoption” of the abandoned orphan, Short Round, their formation of a faux family unit with the Kate Capshaw character, Willie, and the fact that basically all of the dramatic tension in the movie has to do with whether this family unit will be protected and preserved.)
But Gremlins, quite a few more people seemed to agree, was a step too far. Not only was it a horror movie, and not only did it take the grossness of Temple even further, but it also struck some people as a direct assault on all that was good and holy about America, Christmas, and traditional middle-class family values. Set in a picturesque small town that is first sketched in Rockwellian/Capraesque terms—it’s Christmas Eve, there is snow on the ground, a family is getting ready for Christmas, and the main character is a mild-mannered young man who not only works in a bank but is also imperiled by a wealthy senior citizen with a shriveled conscience, á la It’s a Wonderful Life—Gremlins would be described by the film critic David Edelstein as like “Dante shitting all over Spielberg’s never-never land.”
That was too fun a sentence not to quote here (I found it in the Antunes article), even after I realized Edelstein was talking not about the thirteenth century Italian poet but rather Joe Dante, the director of Gremlins. And Spielberg, well, let’s talk about Spielberg: Not only was he the producer of Gremlins, he also directed Temple and “produced” Poltergeist in such a hands-on manner that many people feel he really deserves the director credit on that film. (Supposedly his contract with a competing studio was all that prevented him from taking it.) And to top it all off, having generated all of this controversy with these three movies, it was Spielberg himself who is supposed to have suggested the idea of the PG-13 rating to Jack Valenti, of the MPAA, who ran with it. A month or so later the rightwing masturbation fantasy Red Dawn entered the history books as the first PG-13 movie.
Before these eventful several years in the early 1980s, it had been widely agreed that there should be a clear dividing line between entertainment for children and entertainment for adults and that the former should include no little amount of uplift and moralizing even as it sheltered young viewers from “adult situations,” “mature themes,” and all but the most bloodless violence. This was the widespread tacit expectation of any movie rated PG: that it should, first and at least, do no harm to—and preferably actively preserve and strengthen—the bubble of innocence we like to imagine our children living within.
With the creation of PG-13, however, according to Roger Ebert (and as quoted by Antunes): “There used to be children’s movies and adult movies. Now Spielberg has found an in-between niche, for young teenagers who have fairly sophisticated tastes in horror.”
***
Special effects grow ever more realistic, viewers grow ever more desensitized to violence and gore, and, as a result, tastes and judgements concerning the appropriateness of certain movies cannot help but evolve. A movie that one generation of children finds frightening might merely charm or even bore the next. Those early Universal horror films are supposed to have actually been frightening for audiences of the 1930s and 1940s, for example, even though we must take this on faith today.
Thus, by the time the Oakes family sat down on the couch for Gremlins, a few days before Christmas, we—or at least I—had already felt it appropriate to show Axl and Belle Alien, Aliens, the first two Terminator movies, and that other well-known alternative Christmas movie, Die Hard. For that matter, the kids had also seen all three existing seasons of Stranger Things, which is rated “TV-14” but frankly seems to include at least as much violence and good bit more in the way of “mature themes” than any of those older movies. (For Belle’s sake, we did fast-forward through a few scenes of high-schoolers doing the kind of adult stuff that not very many high-schoolers actually do but which so many parents seem to fear that a television show might inspire them to.)
Having last watched Gremlins just two years earlier, I knew that it contained only the most cartoonish violence, perpetrated by and mainly against obvious puppets, and I knew also that there was not a single second of anything even resembling a sex scene.
Nonetheless, as the opening credits rolled, I had my finger ready on the fast-forward button.
The problem—the one reason to take seriously the PG-13 rating that, apparently, many people in the 1980s would have agreed that it deserved, if only it had been invented yet—comes about two thirds of the way through the movie.
As the gremlins are unleashing the wave of Christmas Eve destruction I described at the top, main characters Kate and Billy have taken shelter in the ravaged lobby of the Union Savings & Trust (the very bank where Billy works, as it happens). It’s a brief scene, basically just long enough for Kate to explain to Billy—the action of the movie overlapping as it does with the “getting to know each other” phase of their burgeoning relationship—why she hates Christmas. To wit, when Kate was 9, her father disappeared on Christmas Eve, only to be discovered five days later, wedged in the family’s chimney, when his corpse began to stink. Dressed as a certain jolly old elf, he was apparently the victim of his own pathological desire to perpetuate the Santa story for his children, by any means necessary.
This is a horrifying story, to be sure, but even this scene would not have been enough to make me reach for the remote—at least, not the portion of the scene I’ve described so far. The problem is with Kate’s concluding line: “And that is how I found out there’s no such thing as Santa Claus.”
I wonder if a film director has ever made a bigger mistake. Dante’s decision to include this line seems even more ill-advised than David Lynch’s decision to sign on for the original Dune. Searching around now, one learns that, in general, “studio executives” wanted to cut this scene but backed down in the face of resistance from both Spielberg and Dante. Did any of these unnamed executives suggest cutting that one final line instead, as a compromise? Casual Google searching doesn’t establish this one way or the other, but today one longs for some kind of, if not “director’s cut,” then “parents’ cut” that would snip it out (and perhaps make the opening scene in the decidedly “Oriental” curio shop less racist, while we’re at it).
Why didn’t Dante just have Kate say “and that’s why I hate Christmas”? This would make even more sense than the line she was given, because belief or non-belief in Santa never otherwise comes up in the movie. The line they used has the ring of a punchline included for crude shock value, especially given that, again, this movie was rated PG. The production team wouldn’t have known during filming that the marketing department would cock up the promotional campaign so badly, but even so, they had to know that they were risking ruining Christmas for more than a few Santa-believing kids and their parents. Did they even care?
***
Axl’s eyes grew wide when I told him we’d decided to share Gremlins with Belle, who is of course still a Santa believer herself. He was so concerned, in fact, that he even took off his headphones and shifted his gaze briefly away from the screen of our iMac, where he was of course playing Minecraft, shaking his head.
“Don’t worry,” I told him. “We’ll fast forward. I have a plan.”
Earlier that evening, I had consulted a website called Common Sense Media. If you are a parent of young children in the year 2022, you are probably well familiar with this site, which has its uses whether you want to push the envelope in terms of what movies and shows might be okay to share with your kids (i.e., if you are a bad parent), or whether you want to avoid anything the slightest bit inappropriate (i.e., if you are a good one).
Common Sense Media is a nonprofit organization that describes its mission as “building a digital world that works better for all kids, their families, and their communities.” The organization is mainly known for its website of ratings and age recommendations for thousands of movies, TV shows, and video games. Each title’s listing includes official staff ratings concerning the prevalence of things like violence, sex, “drinking, drugs, and smoking,” and “positive messages.” Then there are also crowd-sourced reviews submitted by both parents and kids. Each listing leads with two minimum-age-appropriateness recommendations, one the average age suggested by parents, the other suggested by kids.
Although these age recommendations can vary, and often informatively, parents and children seemed to agree on Gremlins: viewers of this movie should be at least 10 years old. Having learned over the years that Common Sense Media reviews over-represent the concerns of prudes and moralists and that it is almost always fine, as a result, to shave 2-4 years off of the resulting age recommendations, it seemed that Gremlins would be fine for 9-year-old Belle—except for that damnable Santa scene.
In fact, having seen Gremlins myself just two years earlier, the only reason I was looking it up on Common Sense Media was for help avoiding that scene. I figured that one of the saner parents on the site would have sketched out a solution, but first, I skimmed through the submitted reviews to take in the gamut of opinions.
“It’s okay, if your kids don’t believe in Santa,” warned one user. “It’s not for little kids it’s very vilante [sic, but good invented spelling, kid]”; “cringed at the swear words”; “I didn’t remember… the swearing”; “my children are 10 and 11 and would be totally freaked out”; “screen it… before showing it to your child.” One review—titled “SO WORSE THAN I REMEMBER”—sums it up thus: “Lots of killing, talks of suicide, and there’s no such thing as Santa!”
Other reviewers basically shrugged at the idea that there might be any reason not to share this movie with your children (except for, of course, The Scene). “The movie was fun but a bit violent,” said one reviewer. “Kids today might like it… though it might be a little dated,” wrote another. “Nice effects and a classic soundtrack,” a third reviewer summed up. I agreed most with the reviewer who summed it up like this: “A Christmas classic not to be missed.”
One thing I’ve noticed over my years of consuming Common Sense Media reviews is how often they express the sentiment that a given movie is “worse than I remembered,” or words to that effect. Even Common Sense’s About page brings this up: “For any adult who's shared their favorite childhood movie with their kids, only to be reminded of all the iffy scenes you didn't remember, we've been there.”
One thing I’ve never noticed is anyone reflecting on the implication. Apparently many of the things adults are so worried about in the movies and shows their kids watch went right over their own heads when they themselves were children—and in earlier, arguably more innocent eras, no less. Perhaps we overthink these matters?
Anyway, I eventually found what I was looking for, courtesy of user TanRay: “The Santa spoiler
happens at around 1 hour 18 minutes into the movie. You’re welcome.”
***
Leaving aside the crowd-sourced reviews, I do want to take issue with the movie’s low rating by Common Sense staff—one out of five little green dots—in the category of “positive role models.” Did they somehow overlook Frances Lee McCain’s portrayal of Lynn Peltzer, long-suffering wife of the frustrated inventor who brings Gizmo home as a gift to their son, Billy?
So often in horror movies, female characters are deployed mainly as objects and victims, there merely to scream, run half-naked through the woods, and ultimately get stabbed to death. Mrs. Peltzer, on the other hand…
Well, let’s just say you couldn’t blame your average homemaker from feeling at least a little flummoxed at the sight her kitchen being destroyed by a pack of what look like half-bat, half-dinosaur mutants. Mrs. Peltzer, by contrast, needs only a few seconds to gather herself before she rolls up her sleeves (actually, she doesn't even waste time doing this) and starts taking care of business.
Noticing one gremlin leaning imprudently far into some sort of blender contraption rigged up by her husband, she hits the “start” button and shreds the creature from the waist up. She repeatedly stabs a second one, Psycho-style, with a kitchen knife before spraying a third in the face with oven cleaner, backing it into the microwave, slamming its door, and cooking the creature on “high.” (This last gremlin-slaying—which results in the creature exploding inside the microwave and sending what looks like a tidal wave of split-pea soup sloshing against the glass—is what I remember seeming to concern the grownups the most, back in 1984, and may very well have been the scene that led most directly to the PG-13 rating.)
How on earth can anyone watch Mrs. Peltzer taking this brave stand in defense of her home and family, and not see a heroine for the ages?
***
Belle loved the movie, and it was no problem getting her past the scene in question. Here’s how I did it. As we started the movie, I set an alarm on my phone to go off at minute 01:18:00 of the movie, although I didn’t actually hit pause until 01:18:17, just after Billy and Kate have ducked into the ruined bank lobby and closed the door but before they settle down for a breather and start talking.
Hitting pause, I announced that I needed to “update something online for work” (a fairly normal thing for me to need to do at random times throughout the day and night) and opined that maybe those family members under the age of majority might like to take the chance to get into their pajamas. Axl, who of course understood my actual intention, went along readily, and Belle and Petra headed upstairs after him. By the time they returned downstairs, I had fast-forwarded to 01:20:42, when Mr. Peltzer is shown emerging from the gas station office where he has just traded one of his inventions for an armload of cartons of Camels, an 80’s-style Christmas present if there ever was one.
Because of this scene change, the discontinuity is not particularly jarring, and anyway, the camera does promptly cut back to an external shot of the bank as Kate and Billy cautiously reemerge. I had earlier considered the possibility of letting the scene roll and simply trying to snip off that final line, but I worried it would be too obvious that I was actually interrupting the scene before it was over. If challenged, and given everything else I'd let both children watch and hear already, what possible justification could I offer for sheltering them from a split second of mere dialog, between fully clothed characters, no less?
Having accomplished all of this, and basking afterwards in the glow of a perfect family evening, a troubling picture came to mind: Belle, over at some friend's house when a viewing of Gremlins is proposed. A conscientious grownup is aware of The Scene and wants to proceed cautiously—but then Belle says she's watched it with her parents, so that's all right then...
We made it through this holiday season without any such mishap, however. Next year, it might not even be an issue.