Like many, the approach of winter break in school meant one exciting thing amidst the looming finals: Christmas movie week. While classics like A Christmas Story were in rotation, there was always one film that would elicit cheers from my classmates but groans from me: Elf. Year after year, viewings of Elf felt less like holiday cheer and more like holiday torture. My reasons for this might resonate, especially when we consider the film’s humor through a modern lens.
One immediate hurdle for me, and likely for others, is an aversion to Will Ferrell’s brand of comedy. Humor is subjective, and Ferrell’s style, which leans heavily into the absurd and often juvenile, simply doesn’t land for everyone. But beyond personal taste, Elf‘s comedic approach ventures into territory that feels increasingly outdated, particularly when examining the now-infamous scene involving Peter Dinklage – or rather, a character intended to evoke him and others with dwarfism.
The scene in question, where Buddy mistakes children’s book author Miles Finch for an elf and Finch reacts with explosive anger, is a prime example of comedy that punches down. While Peter Dinklage himself does not appear in Elf, the scene clearly relies on stereotypes and discomfort around dwarfism for its comedic effect. Finch’s outrage and physical outburst, including jumping on a table, are played for laughs precisely because he is a little person reacting “disproportionately” to being called an elf. This type of joke teeters dangerously close to ridiculing individuals with dwarfism, reducing them to the punchline. In a contemporary context, where sensitivity and inclusivity are rightfully prioritized, this scene feels jarring and insensitive.
Furthermore, Elf‘s comedic missteps extend beyond this single scene. The film, ostensibly aimed at families and children, also plays rather loosely with the mythology of Santa Claus. While some might see Buddy’s innocent questioning as charming, the movie also includes moments that actively undermine the magic of Santa. Newhart the Elf bluntly informs Buddy that some children don’t believe in Santa, and Buddy himself exposes a mall Santa as a fraud. For a film marketed as wholesome holiday entertainment, these moments introduce a level of cynicism that feels premature and potentially disheartening for younger viewers who are still invested in the wonder of Christmas. Why rush children into questioning Santa’s existence within a supposed celebration of holiday spirit?
Even Santa Claus himself isn’t portrayed in the most flattering light within Elf. The premise of the movie hinges on Santa’s oversight in allowing a baby to crawl into his sack and inadvertently transporting him to the North Pole. Upon realizing this, Santa’s solution is to simply hand the child off to an elf. Considering Santa’s supposed omniscience and logistical mastery, his failure to return Buddy to an orphanage or find him suitable human parents seems remarkably negligent. This depiction, alongside the elves’ occasional bullying behavior towards Buddy, paints a less-than-ideal picture of the North Pole community.
Adding to the film’s unsettling elements is the much-celebrated shower scene. Buddy’s uninvited and unknowingly creepy serenade to Jovie while she showers is often presented as a charmingly awkward moment. However, viewed critically, it’s undeniably an invasion of privacy and a scenario that borders on harassment. Jovie’s discomfort is palpable, yet the scene is framed as humorous rather than genuinely inappropriate. This normalizes a lack of boundaries under the guise of quirky Christmas romance.
While some Christmas movies aim for deeper emotional resonance or moral lessons, Elf seems to prioritize simple, often slapstick, humor. Unlike A Christmas Story‘s nostalgic innocence or A Christmas Carol‘s redemptive arc, Elf lacks a comparable thematic depth. Buddy doesn’t undergo significant personal growth or profound self-reflection. The film’s happy ending feels somewhat unearned, relying more on comedic set pieces than genuine character development.
It’s important to acknowledge that Elf has its defenders, many of whom appreciate its lightheartedness and escapist humor, particularly amidst the stresses of the holiday season. The film certainly doesn’t demand deep contemplation; it aims for easy laughs and festive cheer. For some, this low-stakes entertainment is precisely what makes Elf a beloved holiday staple. Laughing at Buddy’s absurd antics, like eating cotton balls or being bewildered by escalators, can be a welcome distraction from holiday pressures.
However, as comedic sensibilities evolve and societal awareness grows, it’s crucial to re-examine films like Elf with a more critical eye. While it may offer moments of levity, its reliance on potentially offensive humor, particularly concerning dwarfism, and its questionable messaging for children warrant a more nuanced perspective. Perhaps it’s time to consider whether Elf truly deserves its status as an undisputed Christmas classic, or if its humor has become more naughty than nice.
