A boy wakes to find his garden covered with snow. He spends all day building a snowman and, in the evening, is sent to bed. Waking at midnight, he looks out of the window to see his snowman come to life and, joyously, joins him in exploring the thrills of wearing make-up, watching television, riding a motorbike, meeting Father Christmas and, most memorably of all, walking in the air. Back home, the boy goes to bed and, when he wakes up, runs outside to reunite with his frozen friend. He is devastated to see that, while he slept, the snowman melted. And so the 26-minute movie ends with the boy, alone in the snow, falling to his knees in despair.
As many before me have pointed out, it’s not a story (or, at least, an ending) that would have appeared in an American Christmas film (or, it must be admitted, in 99% of British ones) – but it is this honest and unflinching finish that has made The Snowman, and its sub-zero hero, part of the modern iconography of Christmas, both in Britain and abroad. The last moments of the movie elevate it from a sweet and wonderfully amusing entertainment into a perfect reflection of the briefness, and power, of those few childhood years when we can completely believe in the myths and magic of Christmas – and, by extension, make it a metaphor for the quick-burning brilliance of all childhood innocence.
Dianne Jackson’s classic animated adaptation of Raymond Briggs’s classic children’s picture book is essentially a silent film with a musical soundtrack (it is often preceded by one of a couple of bits of live action, by far the worse of which is an awkward introduction, and a few moments of unnecessary narration, from David Bowie), and every word-free moment is a reminder, for filmmakers and audiences alike, of just how redundant much movie dialogue can be. The excellence of the animation and the expressiveness of the music recorded to accompany it render pointless any of form of verbal description. The only words we do – or could want to – hear during the film are the lyrics to the endlessly whistle-worthy 'Walking in the Air' (sung not by Aled Jones – he would come later – but by St. Paul’s Cathedral choirboy Paul Auty). The song is the foundation of the film’s most famous scenes: the snowman, en route to a rendezvous with a certain S. Claus, flying hand-in-hand with the unbelieving boy over forests and fields, suburbs and seas.
The Snowman’s finest achievement is probably that anyone still wants to watch it. Like It’s A Wonderful Life, its annual Christmas appearances on (British) television are so long-standing a tradition that one wonders if schedulers aren’t trying to force a programme of aversion therapy onto the film’s fans. If ever a film had the opportunity to become worn out before our eyes, it is The Snowman. And yet the movie remains – the simplicity of its story, the agreeability of its characters, and the marvels of its animation making it immune to negative effects of age and overexposure.
Perhaps not the best Christmas movie (though very possibly the most moving), The Snowman is still a definitive festive film for millions of children, teenagers and adults. For charm and heartbreak, it’s equal to ET, that other great family film from 1982, and, for beauty and impact, to Watership Down, that other great classic of hand drawn British animation. Unlike the appeal of the formulaic, so-and-so-saves-Christmas movies that are vomited onto cinema screens each December, the brilliance of The Snowman will never be melted in the morning.