It’s nearly Christmas, and the seven children in Millie’s family can’t wait for Grandma to arrive with her special Christmas apron, newly pressed and filled with generations of holiday memories. According to tradition, each grandchild will carefully write down the gift he or she wants most in the world, and then slip that wish into the apron’s frilled pocket. Then, on Christmas morning, will those wished-for gifts will be waiting under the tree–like magic?
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Many of my films involve humour, but unlike the earlier work Shepherd’s Delight attempts to confront the problem of humour head-on, referring directly (since a large part of the film is composed of jokes and their analysis) to the viewer’s perception of the film itself. The film is largely concerned with how context determines the reading of information. Since the film’s statements oscillate between the deadly serious (concentrating particularly on an examination of the more sinister aspects of humour) and the totally bogus, with no clearly defined points of changeover, the context is often ambiguous. Hopefully, this strategy undermines both the authority of the ‘serious’ statements and any predictable effect of the ‘jokes’. John Smith, 1984
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