The Johnny Cash Christmas Special 1978

When one thinks of Johnny Cash, an image of struggle is usually formed – an individual who was able to overcome personal discord, and create and perform some remarkable songs along the way. It is hard to distinguish exactly what makes his music so intriguing, but in viewing his Christmas Special of 1978, one is given some insight into what the legend temporarily lost after his life settled down.

This Christmas special emerged 10 years after Cash recorded his album at Folsom Prison, and falls well out of Joaquin Phoenix range. It is the third in a series of four Christmas specials done in the 70s and presents a more compliant, and caring Cash who has shed his dark image. When the DVD’s back cover says, “Celebrate Christmas with the ‘Man in Black’ and some of the biggest stars of the ‘70s!,” it borders on irony. The man presented is far from the amphetamine driven outlaw of 1964, and is somewhat meek.

It is tough to say what is lost in that 10-year transition, but it is apparent that, by the time of this show, something in Cash’s nature had become soft and quirkily mainstream. The Christmas special does not rebel at all, nor push any norms – it plays exactly by the rules that the television medium proclaimed at the time. The show has its obviously planned jokes (courtesy of Steve Martin) its “surprise” guests (Kris Kristofferson and Rita Coolidge), and its cheesy sentimental moments (A performance of “Silent Night” by Johnny and his six daughters.) It is difficult even to determine whether the singing is actually live. In other words, it does so much as consider the notion of pushing any boundaries.

The special does have its highlights, such as Kristofferson who brings some edginess with a duet performance of his song “Sunday Morning Coming Down” with Cash (I say edginess simply because the song is about a hangover and mentions being stoned.) Steve Martin’s appearance also brings some life to the show, but falls short of his best comedy.

The show, instead of focusing on writing, or set instead harps on its performers. It seems to presuppose that by placing good names on stage, a good performance will occur. This may have worked, if the show was not strangled by the constrictions of television.

It must be taken into account that Cash’s demographic in this case is not convicts, or the underdog – it is the American family for which he aims, and therefore the show must be tailored to all age groups. However, many children’s programs have been able to embrace a younger mindset and still maintain artistic integrity (look at Disney’s heyday.) There are no undertones in the performances. It is completely deadpan.

While watching the show, I find myself staring into Cash’s eyes for any glint of brimstone rebellion, but am greeted only by docility. Perhaps this is one of the many contradictions of art. By turning to family value, and embracing an admittedly healthy lifestyle, Cash has forfeited much of what made his art so intriguing. However, it must also be said that this represents a transition time in Cash’s life and career. It is a time when he was just beginning to leave his old life behind, and therefore was unable to articulate the wisdom of his later years. I am not saying that Cash trailed off into eternal obscurity during the ’70s. His amazing rendition of Trent Reznor’s “Hurt” dispels that notion. Cash did find a meaningful pulpit of judicious reflection toward the end of his life. Perhaps this show represents a short period in Cash’s life that can (and should?) simply be ignored.

No related posts.

blog comments powered by Disqus