In the 1998 animated movie The Prince of Egypt, Moses inflicted nine plagues upon Egypt over nine days including the pestilence of livestock, thunderstorms of hail and fire, and the death of firstborn children. While this writer tries to reign in the drama, the lead-in to Christmas makes the period feel like 25 days of plagues.
A seemingly innocent holiday, when family and friends gather over a hearty meal and exchange gifts, has been morphed into a bigger evil by conglomerates. All fingers then point towards Hollywood for introducing the concept of the feel-good, Christmas love movie.
Everybody with an Internet connection or a penchant for pain knows the drill of the aforementioned genre – random people across different races, age groups, and social-economic standings (some might say it is a cleverly disguised United Colours of Benetton advertising campaign) are filmed in the same city where they overcome the tropes of romantic comedies and fall in love.
Re-enact the boombox scene à la John Cusack in Say Anything in Times Square? Sure. Perform a flash mob at the airport with a butchered version of a Frankie Valli and The Four Seasons song? No problem, because that is the director’s money shot.
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Esta historia es de la edición December/January 2020 de MEN 'S FOLIO Singapore.
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