WHITE CHRISTMAS (1954)
A successful song-and-dance team become romantically involved with a sister act and team up to save the failing Vermont inn of their former commanding general.
Some Christmas traditions are so perfect and timeless that they never go out of style. For my money, the classic White Christmas, directed by Michael Curtiz and set to the songs of Irving Berlin, is one such tradition. Ever since I can remember, it has not truly felt like Christmastime until I hear the first tuneful notes of Berlin’s classic Christmas song accompanied by the vivid promise of the first picture filmed in VistaVision. (VistaVision was Paramount’s answer to Cinemascope, and White Christmas was the studio’s inaugural offering in this new technology.) My family is, apparently, not alone in this holiday ritual. According to Statista, 62% of Americans in 2022 voted for White Christmas as their favourite holiday film. Watching this classic musical 70 years after its initial release, it’s not hard to see why this sweet, visually dazzling film has stood the test of time.
The plot, like many musical comedy offerings of the 1940s and 1950s, is relatively light by today’s standards. The story focuses on two former Army comrades, Bob Wallace (Bing Crosby) and Phil Davis (Danny Kaye), who team up to become a famous song-and-dance duo after the war. When the pair meets sisters and nightclub singers Betty (Rosemary Clooney) and Judy (Vera-Ellen), the girls convince them to follow them to Vermont, where they are booked at an inn over the holidays. When they arrive, they discover that the promised snow has yet to appear, and the inn where the girls are performing is run by Bob and Phil’s former commanding general, Tom Waverly (Dean Jagger), who’s about to go out of business. Bob and Phil decide to put on a show at the inn to drum up business and keep the general out of the poorhouse.
What follows is a series of schemes, romantic interludes, musical numbers, and convoluted misunderstandings typical of the genre. What makes this film stand out from other musicals of the era is the pitch-perfect chemistry between its four stars. Kaye and Crosby, in particular, are perfectly matched. Crosby’s deadpan nonchalance provides a wonderful contrast to Kaye’s exuberant slapstick antics. Their partnership hits a comedic high note in one of the film’s most famous scenes: the “Sisters” routine.
This now-iconic moment wasn’t in the original screenplay. Instead, it began as an April Fool’s prank cooked up by Kaye and Crosby, who thought it would be hilarious to don feathered fans and blue garters, mimicking the sisters’ act. Director Michael Curtiz found their antics so entertaining that he reworked the plot to include the number in the film. The improvised scene—complete with Crosby’s ad-libs and Kaye’s barely-contained laughter—has become one of the most beloved and memorable moments in White Christmas. The unplanned chaos perfectly encapsulates the film’s spirit: lighthearted, playful, and endlessly charming.
The female leads, Rosemary Clooney and Vera-Ellen, hold their own beside the comedic duo, showcasing their own unique talents. Clooney, who was just 26 at the time, brings a maturity and understated elegance to the role of Betty. Her rich, velvety voice elevates every song she sings, particularly the tender duet “Count Your Blessings Instead of Sheep”, which she performs with Crosby. Vera-Ellen, while not a singer, is a revelation as Judy. Her strengths lie in her dancing, which is nothing short of dazzling. Numbers like “Mandy” and “Choreography” showcase her unmatched precision and grace, with her lightning-fast footwork leaving audiences spellbound. (In fact, during “Choreography”, her toe-tapping is so rapid it almost defies belief.) It’s worth noting that the choreography for “Abraham”, another standout dance sequence, was crafted by an uncredited Bob Fosse, who would later revolutionise the world of dance and musical theatre. When you are watching the film, also look out for an uncredited George Chakiris as one of the male dancers in Rosemary Clooney’s number, “Love You Didn’t Do Right By Me”. This was, of course, before Chakiris would go on to be nominated for an Oscar for the role of Bernardo in West Side Story (1963).
The romantic moments in White Christmas, especially those between Crosby’s Bob and Clooney’s Betty, are surprisingly natural for a mid-20th-century musical. This is due in large part to the actors’ improvisational skills. One of the most charming scenes in the film—a midnight snack shared by the two in the inn’s lodge—was largely ad-libbed by Crosby. This unscripted dialogue gives the scene a relaxed, genuine feel that makes their budding romance all the more believable.
Still, the romance isn’t without its flaws. Like many musicals of its time, the film relies on a contrived misunderstanding to create tension between Bob and Betty. When Betty overhears a conversation and misinterprets Bob’s intentions, she becomes upset and distant—a conflict that could have been resolved with just a few lines of honest dialogue. Instead, the misunderstanding stretches on for nearly 20 minutes, testing the patience of modern viewers. However, this trope was a common device in the musicals of the era, and the film’s charm ultimately outweighs this minor frustration.
What truly makes White Christmas endure, however, is its music. Beyond the titular song (which originally won an Academy Award for Holiday Inn in 1942), audiences are treated to a collection of Irving Berlin classics, including “The Best Things Happen While You’re Dancing”, “Snow”, and the Oscar-nominated “Count Your Blessings Instead of Sheep”. The musical numbers are not mere diversions—they are the heart and soul of the film, delivering the kind of dazzling spectacle that has become synonymous with Hollywood musicals.
Adding to the magic is the groundbreaking use of VistaVision, which offered a sharper, more vibrant picture than other filming techniques of the time. The brilliance of this technology is still evident today: the vivid costumes, elaborate sets, and rich colour palette feel as fresh now as they did in 1954. VistaVision’s legacy extends beyond White Christmas, too; Alfred Hitchcock famously used the format for Vertigo (1958), and international filmmakers are still utilising the technique. This attention to visual detail ensures that White Christmas remains a feast for the eyes as well as the ears.
But White Christmas isn’t all about show-stopping musical numbers and vibrant visuals. The subplot involving General Waverly adds unexpected emotional depth to the story. Dean Jagger’s portrayal of a proud yet vulnerable man facing the twilight of his career is quietly powerful, bringing a touch of gravitas to the otherwise lighthearted film. The song “What Do You Do with a General?” reflects a post-World War II reality that resonated deeply with audiences at the time. While enlisted soldiers benefited from the GI Bill, career officers often struggled to transition to civilian life after retirement—a challenge that still holds relevance today.
In the end, though, White Christmas is not a film that asks to be overanalysed. Its simplicity is part of its charm. Like a warm blanket on a snowy evening, it wraps you in nostalgia and holiday cheer, leaving you with a smile on your face and a song in your heart. The audience in 1954 agreed with this assessment. White Christmas was the highest-grossing film for that year with The Caine Mutiny coming in a distant second. To this day, it regularly ranks in the Top 100 for most beloved Christmas films, even referenced in Chevy Chase’s vulgar breakdown in 1989’s National Lampoon’s Christmas Vacation. (“We’re going to have the hap-hap-happiest Christmas since Bing Crosby tap-danced with Danny f***in’ Kaye”.)
It is easy to see why this film is so beloved. From its memorable performances to its timeless music and breathtaking visuals, White Christmas has earned its place as a cherished classic. As the snow finally falls in the film’s grand finale and the cast sings the title song, it is impossible not to feel the magic of the season. For 70 years and counting, White Christmas has been more than just a movie—it’s a beloved holiday tradition, one that will undoubtedly endure for generations to come.
USA | 1954 | 120 MINUTES | 1.85:1 | COLOUR | ENGLISH
Cast & Crew
director: Michael Curtiz.
writers: Norman Krasna, Norman Panama & Melvin Peak.
starring: Bing Crosby, Danny Kaye, Rosemary Clooney, Vera-Ellen & Dean Jagger.
