If it is already difficult to agree on the attributes of a Christmas film, Grinch And Snoopy Friends Shirt, Hoodie, Sweatshirt are awesome gift for this christmas, the opposite is even worse. Last year we gathered around a home fire to decide what filled our hearts with joy and patience to endure family evenings. We didn’t reach an agreement, as our list showed. But this time we wanted to pay tribute to those Grinch and Scrooge that we all have nearby (or inside) and feel nauseous with the smell of ginger, carols and that irritating joy that spreads everything. The result is seven films and an extra ball that, while reminiscent of Christmas, dodge the clichés of this time of year. There are lesbian love stories, psychological terror that doesn’t fit in Halloween, something Bill Murray must do and even a meeting with the Antichrist. These are the ones we wanted; now share yours in the comments and let Christmas hatred do its job.
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Snoopy, his dog, is just the opposite: selfish, cheerful, daring, but also, yes, as his master, dreamer. Carlitos wants to be a baseball giant; Snoopy, besides being a novelist, imagines himself to be a great aviator, the pilot-hero who during World War I defeated the famous Red Baron. He did not shoot down the German aviator, nor did he go much further than the opening sentence of his novel, “It was a dark and stormy night,” but on March 10, 1969 – four months before astronauts Armstrong and Aldrin landed in the Sea of Tranquillity with the lunar module of Apollo 11 – Snoopy reached the Moon. “I did it! I am the first Beagle on the Moon,” a Snoopy wearing a space helmet said on that day’s strip, adding: “I beat the Russians… I beat everyone… I even beat that stupid cat next door! Two months later, on May 18, the Apollo 10 mission took off from Earth: the command module took the name of Charlie Brown; the lunar took the name of Snoopy.El Grinch’s film is preceded by a short film starring the Minions, entitled Yellow Is the New Black, which narrates their escape from prison. It is brief, frenetic and fun, and once again shows that these yellow characters work much better in this format or as a punctual comic relief than as the absolute protagonists of a longer storyline. Since the film is mainly aimed at a very small audience, this short is an ideal aperitif to prepare the audience and predispose them to have a good time in the family.
Every year, at Christmas, the locals of Villa Quién disturb the peaceful solitude of the Grinch with celebrations that are increasingly disproportionate, luminous and noisy. When the Quién declare that they are going to prepare a Christmas that year three times as big, they realize that there is only one way to recover some peace and silence: to steal Christmas. To do so, he decides to pass himself off as Santa Claus on Christmas Eve, taking on a very peculiar reindeer to pull his sleigh. Meanwhile, in Villa Quién, a sweet little girl named Cindy-Lou, overflowing with Christmas spirit, plans with her friends to catch Santa Claus during his Christmas Eve visit to thank him for helping his hardworking mother. However, as the magical night approaches, her good intentions threaten to collide with those of the much more perverse Grinch. There is no doubt that in Illumination they have extensive experience, showing us the other face of apparent villains… There is no more paradigmatic case than that of Gru, in which there is a certain air of rebellion but which seeks to reach the heart of imperfect characters. It is the ideal essay for reinterpreting the Grinch.
But of course, it has rained a lot since the children’s tale “How the Grinch stole Christmas” saw the light in 1957, so that it was almost obligatory a powerful update… And also an expansion, given that it only consisted of 69 pages or as they say “a single act” and it was necessary that it included at least three to compose a satisfactory length that drank less of Ron Howard’s version of 2000 starring Jim Carrey and tried to remain as faithful as possible to the original. As for the changes, most are aimed at expanding a very small world: Villa Quién is in the book a village of a few houses, while in the film we are dealing with is a small city that has public transport, cranes, gadgets and technology and is therefore a world that is much easier for any child to identify with today. It is also a busier and more colourful environment in which Christmas is lived intensely: the decoration of the houses, the lights and ornaments envelop everything: it is very welcoming and cheerful. The stylistic premise of avoiding the use of straight lines has been maintained.
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The world in which I was born and grew up was very different from today; cars were not yet the emperors of the cities, telephones had pierced discs to dial the desired number and television -a single channel- did not broadcast 24 hours a day. For the child that I was, like almost all those of my generation (and others close by), one of the main resources against boredom were, in addition to playing in the street, comics (comics now). I was impatiently waiting for the adventures of Captain Thunder and Masked Man, the episodes of Hazañas Bélicas and also the stories of Disney, without forgetting those that starred in that mythical TBO. As I grew older, I met Tintin, with his inseparable and faithful Milu; Asterix, Obelix and the rest of his formidable troop of Gauls, and the unforgettable Mafalda. I loved them all, but none as much as the Peanut group, led by Charlie Brown (Carlitos) and Snoopy, to whom I was loyal until the end. They had something that everyone else lacked, except the very politically conscious Mafalda: humanity, a complex and often tormented humanity. And also condensed into four or five vignettes, not like the elaborate stories of Tintin or Asterix. It was a group of children and a dog, yes, but how many problems and complexes they suffered!
Spike was, like Snoopy, a little crazy. And it is that, as happens with many stories, behind them live the experiences and inclinations of their authors. This was the case with Mafalda, where the opinions of Quino, its creator, about the political-social situation in Argentina at the time are evident; and the same can be said, although with an opposite political sign, of the inventor of Tintin, Hergé. In the unideologized case of the Peanuts, Charles Schulz’s presence in the world he created, as impossible as it was real, was above all personal. “Drawing for me, which is for whom, I think, we all draw. We draw for ourselves and we hope people like it,” he confessed. When he got an Emmy for Best Children’s Cartoon Film for A Charlie Brown Christmas (1965), he said he wasn’t drawing for children, but “for the elderly,” for those adults who never appeared on a strip of Peanuts.
Although he named him after a person he worked with at an art school in Minneapolis, Carlitos was little less than Schulz’s alter ego: for example, their parents were barbers. With pride, in the strip published on June 21, 1964, that year’s Father’s Day, after Lucy boasted again and again of her father’s superiority (which many children usually do) – that if she had more credit cards, than if she sent the golf ball farther away… – Carlitos, fed up, says to her: “Wait a minute”, and takes her to her father’s barbershop: “Here he works all day and deals with all kinds of people… But you know what? I can come in at any time of the day and no matter how busy I am, it always stops and gives me a big smile. In fact, when he returned from serving in World War II, he settled with his father – his mother had died of cervical cancer in 1943 – in an apartment above the barbershop in St. Paul (Minnesota), determined to become a professional cartoonist, something he did after trying out characters not too different from what Carlitos would be like later: with big heads and relating to others with phrases that didn’t really correspond to their ages. His minimalist style of drawing and his intellectual and somewhat dry humour fit well with what newspapers demanded in the 1950s. Let’s buy Baby Grinch And Snoopy Friends Christmas Shirt if you love them.