CLOSE
20th Century Fox
20th Century Fox

10 Heartwarming Facts About Miracle on 34th Street

20th Century Fox
20th Century Fox

For more than 70 years, George Seaton’s Miracle on 34th Street has been a go-to holiday classic. Starring Maureen O’Hara, John Payne, Edmund Gwenn, and Natalie Wood, the film follows a wise-beyond-her-years little girl, her nonbeliever mom, and their lawyer neighbor as they defend the existence of Santa Claus in a New York City courtroom. Suffice it to say, it’s the kind of spirited, burst-your-heart movie that makes you want to spread the Christmas cheer. Now, get to know more about the timeless classic with these 10 things you might not have known about Miracle on 34th Street.

1. THE MOVIE WAS ORIGINALLY CALLED THE BIG HEART.

According to Turner Classic Movies, it was director George Seaton who lobbied for the name The Big Heart. “I am crazy about the title The Big Heart. If we can clear it, it is a natural,” wrote Seaton in a memo to producer William Perlberg. “It is the kind of title like Sentimental Journey [1946] that made such a hit previously with [John Payne and Maureen O’Hara].” It didn’t stick with American audiences, but it was first released under that title in the U.K.

2. VALENTINE DAVIES WAS INSPIRED TO WRITE THE STORY WHILE STANDING IN A LONG LINE AT A DEPARTMENT STORE.

According to TCM, Davies got the idea for the film during the hustle and bustle of the holiday season. The long lines and chaos left him to wonder what Santa would’ve thought about such commercialization. After writing the story, he gave the idea to Seaton to turn into a script. In 1947, when the film was released in theaters, Davies also released his novella version of the story.

3. THE STUDIO DIDN’T GET THE CONSENT OF MACY’S AND GIMBELS UNTIL AFTER FILMING HAD CONCLUDED.

Despite the fact that both Macy’s and Gimbels figure prominently in the story, the studio took a gamble by not getting the companies to sign off before using their names. According to TCM, the studio made the companies aware they were going into production, but refused to share footage until filming was completed. Luckily, both department stores were satisfied with the final product.

4. EDMUND GWENN ACTUALLY PLAYED SANTA IN THE 1946 MACY’S THANKSGIVING DAY PARADE.

The parade scene was entirely real, and Maureen O’Hara’s autobiography proves it. “Those sequences, like the one with Edmund riding in the sleigh and waving to the cheering crowd, were real-life moments in the 1946 Macy’s parade,” she wrote. “It was a mad scramble to get all the shots we needed, and we got to do each scene only once. It was bitterly cold that day, and Edmund and I envied Natalie and John Payne, who were watching the parade from a window.”

5. THE FILM WAS RELEASED IN THE SUMMER.

Despite being a Christmas movie, Fox’s studio head pushed for the film to be released in the summer. “[Darryl] Zanuck wasn’t sure it would be a success, so he had it released in June, when movie attendance is highest, rather than wait for Christmas,” wrote O’Hara in her autobiography ‘Tis Herself. “In fact, the publicity campaign barely talked about Christmas at all.” Clearly, the strategy worked.

6. NATALIE WOOD STILL BELIEVED IN SANTA.


20th Century Fox

Natalie Wood was eight years old while filming Miracle on 34th Street. “I still vaguely believed in Santa Claus,” said Wood, as recorded in her biography written by Suzanne Finstad. “I guess I had an inkling that maybe it wasn’t so, but I really did think that Edmund Gwenn was Santa. I had never seen him without his beard because he used to come in early in the morning and spend several hours putting on this wonderful beard and mustache. And at the end of the shoot, when we had a set party, I saw this strange man, without the beard, and I just couldn’t get it together.”

7. THE SAYING KRIS KRINGLE LISTS UNDER DATE OF BIRTH ON HIS MACY’S JOB APPLICATION IS ACTUALLY A LINE BY JONATHAN SWIFT.

One of the memorable moments in the film is when Kris Kringle fills out his employment card. In addition to listing the North Pole as his birthplace and all of his reindeer as his next of kin, Kringle gets clever with his DOB. He writes: “I’m as old as my tongue and a little older than my teeth.” The saying famously comes from Irish satirist Jonathan Swift.

8. IN THE SCENE WHERE NATALIE WOOD’S SUSAN WALKER SPOTS HER DREAM HOUSE, IT WAS SO COLD OUTSIDE THE CAMERAS ACTUALLY FROZE.

It seems the whole production was nothing short of a Miracle. While filming the final scene, when Susan spots her dream house, the weather was so cold that production had to stop to let the cameras thaw. In the meantime, as recalled by TCM, a nearby neighbor invited the cast inside for warmth. O’Hara took the woman and her husband to an exclusive New York restaurant that night as a thank you.

9. JOHN PAYNE WROTE A SEQUEL TO THE FILM THAT WAS NEVER PRODUCED. 


20th Century Fox

According to O’Hara, her co-star loved the film so much he wanted to make a follow-up. “John really believed in ... Miracle on 34th Street, and always wanted to do a sequel,” she wrote in ‘Tis Herself. “We talked about it for years, and he eventually even wrote a screenplay sequel. He was going to send it to me, but tragically died before he could get around to it. I never saw it and have often wondered what happened to it.”

10. GWENN, O’HARA, AND PAYNE WOULD HANG OUT TOGETHER ON NIGHTS THEY WEREN’T FILMING.

It seems the Christmas spirit was alive during production just as much as it is in the final film. In her autobiography, O’Hara recalled the magical evenings she spent with her co-stars. “Each evening, when we were not working, Edmund Gwenn, John, and I went for a walk up Fifth Avenue. Natalie had to go to bed, but we didn’t. We stopped and window-shopped at all the stores, which were beautifully decorated for the holidays,” wrote O’Hara. “Edmund especially loved those nights and acted more like the kid who might be getting the presents instead of the Santa who would be giving them. I got such a big kick out of seeing the expressions of window dressers when they saw Edmund peering in at them—I knew then that he was going to make a big splash as Santa Claus ... Everyone felt the magic on the set and we all knew we were creating something special.”

nextArticle.image_alt|e
NBC Television/Courtesy of Getty Images
arrow
entertainment
10 Things You Might Not Know About Steve Martin
NBC Television/Courtesy of Getty Images
NBC Television/Courtesy of Getty Images

Is there anything Steve Martin can't do? In addition to being one of the world's most beloved comedians and actors, he's also a writer, a musician, a magician, and an art enthusiast. And he's about to put a number of these talents on display with Steve Martin and Martin Short: An Evening You Will Forget for the Rest of Your Life, a new comedy special that just arrived on Netflix. To commemorate the occasion, here are 10 things you might not have known about Steve Martin.

1. HE WAS A CHEERLEADER.

As a yellleader (as he refers to it in a yearbook signature) at his high school in Garden Grove, California, Martin tried to make up his own cheers, but “Die, you gravy-sucking pigs,” he later told Newsweek, did not go over so well.

2. HIS FIRST JOB WAS AT DISNEYLAND.

Martin’s first-ever job was at Disneyland, which was located just two miles away from his house. He started out selling guidebooks, keeping $.02 for every book he sold. He graduated to the Magic Shop on Main Street, where he got his first taste of the gags that would later make his career. He also learned the rope tricks you see in ¡Three Amigos! from a rope wrangler over in Frontierland.

3. HE OWES HIS WRITING JOB WITH THE SMOTHERS BROTHERS TO AN EX-GIRLFRIEND.

Thanks to a girlfriend who got a job dancing on The Smothers Brothers Comedy Hour, Martin landed a gig writing for the show. He had absolutely no experience as a writer at the time. He shared an office with Bob Einstein—better known to some as Super Dave Osborne or Marty Funkhauser—and won an Emmy for writing in 1969.

4. HE WAS A CONTESTANT ON THE DATING GAME.

While he was writing for the Smothers Brothers, but before he was famous in his own right, Martin was on an episode of The Dating Game. (Spoiler alert: He wins. But did you have any doubt?)

5. MANY PEOPLE THOUGHT HE WAS A SERIES REGULAR ON SATURDAY NIGHT LIVE.

Martin hosted and did guest spots on Saturday Night Live so often in the 1970s and '80s that many people thought he was a series regular. He wasn't. 

6. HIS FATHER WROTE A REVIEW OF HIS FIRST SNL APPEARANCE.

After his first appearance on SNL, Martin’s father, the president of the Newport Beach Association of Realtors, wrote a review of his son’s performance in the company newsletter. “His performance did nothing to further his career,” the elder Martin wrote. He also once told a newspaper, “I think Saturday Night Live is the most horrible thing on television.”

7. HE POPULARIZED THE AIR QUOTE.

If you find yourself making air quotes with your fingers more than you’d really like, you have Martin to thank. He popularized the gesture during his guest spots on SNL and stand-up performances.

8. HE QUIT STAND-UP COMEDY IN THE EARLY 1980S.

Martin gave up stand-up comedy in 1981. “I still had a few obligations left but I knew that I could not continue,” he told NPR in 2009. “But I guess I could have continued if I had nothing to go to, but I did have something to go to, which was movies. And you know, the act had become so known that in order to go back, I would have had to create an entirely new show, and I wasn't up to it, especially when the opportunity for movies and writing movies came around.”

9. HE'S A MAJOR ART COLLECTOR.

As an avid art collector, Martin owns works by Pablo Picasso, Roy Lichtenstein, David Hockney, and Edward Hopper. He sold a Hopper for $26.9 million in 2006. Unfortunately, being rich and famous doesn’t mean Martin is immune to scams: In 2004, he spent about $850,000 on a piece believed to be by German-Dutch modernist painter Heinrich Campendonk. When Martin tried to sell the piece, “Landschaft mit Pferden” (or "Landscape With Horses") 15 months later, he was informed that it was a forgery. Though the painting still sold, it was at a huge loss.

10. HE'S AN ACCOMPLISHED BLUEGRASS PERFORMER.

Many people already know this, but we’d be remiss if we didn’t mention that he’s an extremely accomplished bluegrass performer. With the help of high school friend John McEuen, who later became a member of the Nitty Gritty Dirt Band, Martin taught himself to play the banjo when he was 17. He's been picking away ever since. If you see him on stage these days, he’s likely strumming a banjo with his band, the Steep Canyon Rangers. As seen above, they make delightful videos.

nextArticle.image_alt|e
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.
arrow
entertainment
Star Wars Premiered 41 Years Ago … and the Reviews Weren’t Always Kind
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.

A long time ago (41 years, to be exact) in a galaxy just like this one, George Lucas was about to make cinematic history—whether he knew it or not. On May 25, 1977, moviegoers got their first glimpse of Star Wars, Lucas’s long-simmering space opera that would help define the concept of the Hollywood “blockbuster.” While we're still talking about the film today, and its many sequels and spinoffs (hello, Solo), not every film critic would have guessed just how ingrained into the pop culture fabric Star Wars would become. While it charmed plenty of critics, some of the movie’s original reviews were less than glowing. Here are a few of our favorites (the good, the bad, and the Wookiee):

"Star Wars is a fairy tale, a fantasy, a legend, finding its roots in some of our most popular fictions. The golden robot, lion-faced space pilot, and insecure little computer on wheels must have been suggested by the Tin Man, the Cowardly Lion, and the Scarecrow in The Wizard of Oz. The journey from one end of the galaxy to another is out of countless thousands of space operas. The hardware is from Flash Gordon out of 2001: A Space Odyssey, the chivalry is from Robin Hood, the heroes are from Westerns and the villains are a cross between Nazis and sorcerers. Star Wars taps the pulp fantasies buried in our memories, and because it's done so brilliantly, it reactivates old thrills, fears, and exhilarations we thought we'd abandoned when we read our last copy of Amazing Stories."

—Roger Ebert, Chicago Sun-Times

Star Wars is not a great movie in that it describes the human condition. It simply is a fun picture that will appeal to those who enjoy Buck Rogers-style adventures. What places it a sizable cut about the routine is its spectacular visual effects, the best since Stanley Kubrick’s 2001Star Wars is a battle between good and evil. The bad guys (led by Peter Cushing and an assistant who looks like a black vinyl-coated frog) control the universe with their dreaded Death Star."

—Gene Siskel, Chicago Tribune

Star Wars is like getting a box of Cracker Jack which is all prizes. This is the writer-director George Lucas’s own film, subject to no business interference, yet it’s a film that’s totally uninterested in anything that doesn’t connect with the mass audience. There’s no breather in the picture, no lyricism; the only attempt at beauty is in the double sunset. It’s enjoyable on its own terms, but it’s exhausting, too: like taking a pack of kids to the circus. An hour into it, children say that they’re ready to see it again; that’s because it’s an assemblage of spare parts—it has no emotional grip. “Star Wars” may be the only movie in which the first time around the surprises are reassuring…. It’s an epic without a dream. But it’s probably the absence of wonder that accounts for the film’s special, huge success. The excitement of those who call it the film of the year goes way past nostalgia to the feeling that now is the time to return to childhood."

—Pauline Kael, The New Yorker

"The only way that Star Wars could have been interesting was through its visual imagination and special effects. Both are unexceptional ... I kept looking for an 'edge,' to peer around the corny, solemn comic-book strophes; he was facing them frontally and full. This picture was made for those (particularly males) who carry a portable shrine within them of their adolescence, a chalice of a Self that was Better Then, before the world's affairs or—in any complex way—sex intruded."

—Stanley Kauffmann, The New Republic

“There’s something depressing about seeing all these impressive cinematic gifts and all this extraordinary technological skills lavished on such puerile materials. Perhaps more important is what this seems to accomplish: the canonization of comic book culture which in turn becomes the triumph of the standardized, the simplistic, mass-produced commercial artifacts of our time. It’s the triumph of camp—that sentiment which takes delight in the awful simply because it’s awful. We enjoyed such stuff as children, but one would think there would come a time when we might put away childish things.”

—Joy Gould Boyum, The Wall Street Journal

Star Wars … is the most elaborate, most expensive, most beautiful movie serial ever made. It’s both an apotheosis of Flash Gordon serials and a witty critique that makes associations with a variety of literature that is nothing if not eclectic: Quo Vadis?, Buck Rogers, Ivanhoe, Superman, The Wizard of Oz, The Gospel According to St. Matthew, the legend of King Arthur and the knights of the Round Table … The way definitely not to approach Star Wars, though, is to expect a film of cosmic implications or to footnote it with so many references that one anticipates it as if it were a literary duty. It’s fun and funny.”

—Vincent Canby, The New York Times

"Viewed dispassionately—and of course that’s desperately difficult at this point in time—Star Wars is not an improvement on Mr Lucas’ previous work, except in box-office terms. It isn’t the best film of the year, it isn’t the best science fiction ever to be translated to the screen, it isn’t a number of other things either that sweating critics have tried to turn it into when faced with finding some plausible explanation for its huge and slightly sinister success considering a contracting market. But it is, on the other hand, enormous and exhilarating fun for those who are prepared to settle down in their seats and let it all wash over them.”

—Derek Malcolm, The Guardian

“Strip Star Wars of its often striking images and its high-falutin scientific jargon, and you get a story, characters, and dialogue of overwhelming banality, without even a ‘future’ cast to them. Human beings, anthropoids, or robots, you could probably find them all, more or less like that, in downtown Los Angeles today. Certainly the mentality and values of the movie can be duplicated in third-rate non-science fiction of any place or period. O dull new world!”

—John Simon, New York Magazine

"Star Wars is somewhat grounded by a malfunctioning script and hopelessly infantile dialogue, but from a technical standpoint, it is an absolutely breathtaking achievement. The special effects experts who put Lucas' far-out fantasies on film—everything from a gigantic galactic war machine to a stunningly spectacular World War II imitation dogfight—are Oscar-worthy wizards of the first order. And, for his own part, Lucas displays an incredibly fertile imagination—an almost Fellini-like fascination with bizarre creatures.”

—Kathleen Carroll, New York Daily News

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios