We both agreed that Maria and the little bird from “The Gift” (this is the song that ends with the line, “As her offering was lifted to heaven
By the very first nightingale’s song”) or the poor little boy in “The Christmas Shoes” don’t fall into this category. I even argued that the Little Drummer Boy shouldn’t be included. Frosty and Rudolph are anthropomophized—non-human characters given human-like traits, or at least a human-like story line. Whereas the bird in “The Gift” never does anything that a real bird wouldn’t do.
And characters that were originally created in other media who happen to have subsequently been given a song when someone decided to try to make a television special or direct-to-video show about the character shouldn’t count, either. So as wonderful as The Grinch is (and how could he not be, having been created by Dr. Seuss?), he shouldn’t be offered as an example of a Rudolph competitor. And while Jack Frost appears in a couple of songs, (“Jack Frost nipping at your nose,” and “Little Jack Frost Get Lost”) he first was mentioned in poems back in the late 1700s, and often as simply an allusion to the cold rather than a full-blown personification.
Once you listen these other songs, it’s not much of a surprise why they’ve never caught on. For instance, “Chrissy the Christmas Mouse” has no story. I mean, “Frosty the Snowman” doesn’t have much of a plot, but compared to Chrissy, it’s practically Crime and Punishment! Chrissy is a mouse, who lives in Santa’s house, and she wants to go with Santa on Christmas Eve. So Santa asks Mrs. Claus if Chrissy has done her chores, and Mrs. Clause says “yes,” and Chrissy goes.
“The Little Blue Bell” has a plot, sort of. There’s this little blue bell in a church steeple, right? Except the little blue bell can’t ring. No matter what, it’s silent. How can it be a bell if it can’t right? And why is it still up in the steeple if it is broken? So the song tells us over the course of three verses, that the blue bell is sad up in that steeple every Christmas Eve because it can’t right. If I were a bell that couldn’t ring, it would seem to be that it would bother me more than just one night a year, right? Anyway, in the final verse, an angel appears and tells the bell it’s there to dry its tears. And then the angel does some angel-y magic, and transforms the bell into pure gold, and now the bell can ring. And the bell is so proud! And that’s the song.
So apparently the reason the bell couldn’t ring was because blue metal is somehow silent? What’s the moral? Suffer long enough but otherwise do nothing and an angel might come and transform you into a different race or whatever (what else is the blue can’t ring, but gold rings beautifully supposed to be a metaphor of?)? It’s just weird.
Not that Rudolph is much better. As I pointed out last week, it can persuasively be argued that Rudolph’s moral is that nonconformity will be punish until it can be exploited. Not exactly uplifting.
Of course, if you think too hard about the story line of just about any song out there it can be pretty crazy making.
So maybe I should stick to characters like Scrooge and leave the songs to songwriters.
I much prefer some of the earlier pieces written on the topic: 2013’s Rudolph the Red-Nosed Reindeer: A Gay Christmas Allegory, for instance. Or 2012’s Coming Out In Christmastown. Then there’s 2011’s I’ll Never See Rudolph the Same Way Again Less involved is 2005’s Is Hermy Gay? Sixteen serious questions raised by the 1964 holiday classic Rudolph The Red-Nosed Reindeer. In Michael Salvatore’s novel Between Boyfriends there is an entire chapter in which his protagonist talks about recognizing at age 6 the gayness of Hermy and Rudolph (and specifically that he was like them).
I even wrote something about it once. I thought I had published it on my Sans Fig Leaf page, but a search of my old archives proved it was even longer ago than that. It must have been when I blogged on Geocities, which means it was sometime before April, 1998! And it also means I don’t have a copy of it any longer. Which might be a good thing.One of the reasons I don’t think of Hermy and other aspects of the 1964 Rudolf the Red-nosed Reindeer as subtext is because every time my family watched it during my childhood, Dad would make jokes about the “fag elf.” In addition to the annual repeat of crude comments about Rudolph and Clarice when the narrator refers to Rudolph having grown up, at least one year he wondered aloud about the relationship between the “fag elf” and Yukon Cornelius in rather graphic terms.
I was four years old when the Rankin-Bass special first aired on NBC TV. I don’t have specific memories of that first broadcast, but because a few years later I have very distinct memories of being dismayed that one song and scene which I have very clear memories of weren’t in the show, I know that I had to have watched the original broadcast. In the original broadcast, Santa is never shown going to the Island of Misfit toys to deliver them to children. A scene showing that was added in 1965. They made room for it by replacing Rudolph and Hermy’s “We’re a Couple of Misfits” musical number with a shorter song, “Fame and Fortune” and by removing a scene at the end where Yukon Cornelius discovers a peppermint mine. Over the years other changes were made to the original show, including a re-edited and shortened version of “We’re a Couple of Misfits” being added back in. And other techniques to make room for more commercials resulted in the music that remained sometimes sounding warbling and distorted.
But to get back to the subtext question: I think you would have to be extremely naÏve not to recognize Hermy, at least, as gay. Certainly my dad thought it was obvious!
Years later, someone asked Arthur Rankin, Jr, whether there was a gay message to Rudolph the Red-nosed Reindeer, and he denied it. However, while Rankin and Bass ran the studio and were intimately involved in directing and producing the many shows their company made over the years, the actual scripts were almost always the work of Romeo Muller, a gay Jewish man from the Bronx. Mullee, along with artist Jack Davis, and actors Paul Frees and Paul Kligman are usually credited with the many Jewish allusions and subtexts that are obvious in other Rankin-Bass Christmas specials, such as Santa Claus is Coming to Town (the Burgomeister Meisterburger had toys burnt in a town square in a scene that looks a lot like footage of historical Nazi book burnings, and his guards all wear actual Prussian uniforms, for goodness sake; and don’t tell me that the Winter Wizard isn’t supposed to sound like someone’s Jewish grandfather!) or The Little Drummer Boy. So it doesn’t seem that big of a stretch to imagine that Muller wrote Hermy as gay.
In 1964 and for a few decades before that, movies, television shows, and plays often featured a stock character referred to now as The Sissy. The Sissy was a closeted predecessor of the Sassy Gay Friend. Some people argue that Hermy is just another instance of the Sissy, but there’s one problem with that interpretation. The Sissy was never a hero or the sort of supporting character with his own subplot. He might be a friend and ally of the hero or the heroine (much more often the heroine), but he was merely there to deliver jokes or be the butt of jokes. Meanwhile, I think what made Hermy worthy of commentary by my dad (while he almost never made comments about the archetypical Sissy in other shows) is that Hermy in not comic relief. Hermy has his own subplot. He doesn’t just help Rudolph find acceptance, he realizes his dream. He escapes societal expectations of being a toymaker and becomes a dentist.
You can argue that this is just a parallel to Rudolph’s journey from ostracized freak to valued leader of Santa’s team of flying reindeer, but they wouldn’t have had to give Hermy those Paul Lynde speech patterns, bright pink lips, and that very twink-like swoosh of blond hair (when the only other elves who have hair are definitely women) to do that. Hermy was an obvious, if closeted, queer character. And instead of being the butt of other characters’ jokes, he was the secondary lead. He’s the one who defeats the Abominable Snowman, after all!
I won’t get into all the reasons that the actual villains of this story are Santa, Donner, and Comet. Other people have covered that pretty well. Just as many have argued that the lesson of this special (and the 1949 song, and the 1939 book) is that deviation from the norm will be punished unless it is exploitable. Yeah, there are some problematic aspects to a lot of these old stories.
I still love this version, though, and not the least of the reasons is because the “fag elf” gets a happy ending.