The Music of National Lampoon's Christmas Vacation: An Analysis

Here, I was asked to analyze an aspect of a film and write about it.

I decided to look into one aspect of a Christmas classic that probably few people ever think about.

One of my all-time favorite Christmas films is National Lampoon’s Christmas Vacation. The dynamic between absurdity and reality, where some of the antics of the characters – like Clark W. Griswold Jr. using a staple gun to hang Christmas lights and accidentally stapling himself to the roof – are just ridiculous enough to be real, is one of the aspects that I think is most entertaining of it. Other than that, it’s a silly movie that happen to enjoy in the vein of Spaceballs and Airplane!

Since the film is considered a Christmas/holiday classic, the plot itself is very well-known to most film viewers, and even some non-viewers. Clark Griswold (Chevy Chase) decides, rather than going on chaotic trips to visit family for Christmas, to bring the family to the Griswold home – in essence, bringing the vacation and all the anarchy with it.

There is one aspect to the film that I think isn’t always looked at that adds to its appeal: the soundtrack. The score, by future Twin Peaks composer Angelo Badalamenti, is a perfect fit to the film: quirky and frenetic at times and soft and poignant at others.

Unfortunately, in the 28 years since the film’s release, a score album never accompanied it, even in the rise of labels that specialize in film scores, such as La La Land Records, Intrada or Varèse Sarabande. This can be due to rights/licensing issues, or the possibility that the recording masters have been lost. Because of that, properly analyzing Badalamenti’s score on its own is a difficult endeavor, but one I intend to take on.

Being the third film in the Vacation series, I can see a variety of reasons a movie like this would be made. For one, both films to that point – Vacation and its 1985 sequel National Lampoon’s European Vacation – were extremely profitable at the box office, so it makes sense to me that the studio, seeing a big money-maker, would want to keep that trend going [Box Office Mojo.com, The Numbers]. Given that writer John Hughes was also popular as a writer and director of raunchy yet optimistic family films during the 80’s ], it sounds almost like a no-brainer that the studio would see dollar signs in another Vacation film written by John Hughes (especially since he was not involved with European Vacation [LeDonne, Wood]).

A more benevolent motive for the film’s production exists. The origins of the film go back to Christmas ’59, a short story John Hughes wrote for the National Lampoon magazine in the 1980’s [Wood]. Producer Marty Simmons read the story and enjoyed it enough to want to make a film adaption of it after the first Vacation film. Clearly, he eventually succeeded at [LeDonne].

One important observation I’ve made about the film score is that it makes use of one single particular theme or leitmotif. This main theme of the film is actually a theme for Clark Griswold. The exact nature of the theme is difficult to define, since it has two “modes” or moods that it tends to appear in: a quirky, sillier sounding version, and a sober version that plays during more emotional moments centered around Clark.

A third version of this theme appears as a short, recurring Christmassy jingle that plays whenever someone off screen opens a window or door on the Advent Calendar. The piece begins with a medium-paced jingle stick playing, shortly after accompanied by Clark’s Theme played as an eight-note chiming melody on a percussion instrument (likely a glockenspiel).

Although three of the four instances it plays sound identical - save for barely discernible tempo differences - the version that plays over December 21 is the most different and unique of the pieces. Unlike the other three, this version plays at a quicker pace, the melody much more urgent before it quickly slows down, the jingle stick slowing to a crawl and the final note almost distantly away from the rest of the jingle.

The “jingle version” of Clark’s Theme as a whole serves two purposes. It first lends more of a Christmas vibe to the movie as a whole. Second, it serves an expository purpose, making the brief scenes of someone opening a small window on an Advent Calendar more bearable and interesting to watch before leading into the next scene.

The quirky version is actually a single piece that appears three times in the film. The piece begins with a staccato ostinato of low strings and woodwinds before Clark’s Theme appears on xylophone or woodblock. The first instance is when Clark is staple gunning lights to his gutter before accidentally stapling his sleeve to it. This exact piece appears later in the film (the third and final reappearance of the quirky version), after Cousin Eddie (Randy Quaid) arrives and the rest of the family heads into the house while Clark stays behind, mortified. Although it is the same exact cue re-used for this scene, it has a few brief edits that cut it short by a few seconds. A particular aspect to note is that the ending of the cue is drowned out by sound effects during the staple gun scene, but plays cleanly and unobscured during the second instance.

The second instance is moments after the staple gun scene, when Clark is stapling lights to the roof before sliding off. This version is almost identical to the first, but with noticeable differences: the tempo is slightly quicker, the strings and woodwinds are played with more emphasis with the xylophone slightly muted, and it culminates in a sudden descending burst of strings and brass as Clark slides down the roof. The slightly different instrumentation and tempo provide an interesting contrast between the two scenes: the first version makes it sound like the music itself is bemused by Clark and what he’s doing, while the second version comes off as simultaneously exasperated (by how long he’s been on the roof) and apprehensive (as if anticipating he’s going to fall).

Clark’s Theme in general appears later during more serious and emotional moments centered around him, and is much more variously orchestrated in each occurrence. It first appears on harmonica after Clark’s first failure to turn on the house lights. Its most poignant use in the film is when Clark Sr. (John Randolph) gives Clark an inspirational speech shortly after the squirrel sequence. Its final appearance is actually the final scene of the film, here played more proudly and resolutely now that Clark’s story (for now) is finished.

The use of Clark’s Theme in each of these scenes, in my mind, musically defines Clark Griswold as a character for the film. The quirky version perfectly matches the scenes where Clark tries to accomplish a task while in an unusual or precarious situation. The uses after this serve to make Clark a more sympathetic figure showing that, for all the silly, wacky and bizarre situations he and his family find themselves in over the course of the film, Clark is genuinely trying to provide an enjoyable, memorable Christmas for his family.

A lesser emphasized motif is the use of percussion to denote Clark’s boss Frank Shirley (Brian Doyle-Murray). This is technically harder to define, as the two scenes he appears in that are scored don’t share a melody, but use very similar instrumentation.

From here, Badalamenti focuses less on thematic material but uses material more appropriate to the mood or tone of a scene, which I think he does successfully for a family Christmas-themed comedy.

For example, a tone one might not expect to find in a holiday movie is a sense of tension and dread, which Badalamenti applies farcically but without losing the drama of the scene. The fact that Angelo Badalamenti previously scored horror/suspense films like A Nightmare on Elm Street 3: Dream Warriors and David Lynch’s Blue Velvet  and has since scored horror films like Cabin Fever and The Wicker Man remake lends more credibility – in my opinion – for him to know what works as intense music and where and how to draw the line [IMDB, Yahoo Movies].

The first instance of this is the highway scene at the start of the film. Here, Badalamenti uses lower sustained string and brass to emphasize the tension of Clark pursuing two rednecks before getting trapped under a semi, at the same time using quicker-paced higher strings and brass to give the scene an energy that, while adding to the tension, also serve to keep it from being too intense.

Another short, but I feel noteworthy, instance of this appears early in the film, where Badalamenti scores Clark marching out of his garage wearing a hockey mask and wielding a chainsaw with exaggerated menace [the scene in question]. The piece begins with rising, anxious, sustained strings and low brass before culminating in sharp, concussive bursts of brass and percussion. The finale of the cue is reprised shortly after as Clark waves the chainsaw to mock intimidate his yuppie neighbors. What I find interesting about this piece in particular is that it was deemed intense enough to have been edited into the aforementioned highway scene (audible at 1:30 here, as Clark drives under the trailer). After a decade of slasher films (and having scored one himself), Badalamenti's pretentious cue adds to the humor of this scene. 

My personal favorite example of the “danger” cues, which I also think is where Badalamenti employs this principle best, is the squirrel scene. The piece begins with loud, terrified sustained brass as the squirrel leaps out the tree, lasting until the family hides in a hallway. The piece takes a more subtle, suspenseful tone with strings (sustained and pizzicato), low brass and woodwinds as Clark comes up with a plan before re-entering the living room. The ensuing chase between Snots the dog and the squirrel is where Badalamenti fully embraces the absurd horror concept, using quick-tempo pulsing low brass with either sustained or racing strings and occasional brass motifs. The main point at which the track becomes genuinely tense (using additional dissonant brass and strings) happens in anticipation of what is about to happen as yuppie neighbor Margo (Julia Louis-Dreyfus) approaches the Griswold house while Clark prepares to unknowingly unleash the pursuing animals out the door at her.

With a background that includes jazz-based soundtracks, Badalamenti also uses a lighthearted and energetic approach that, while feeling somewhat divorced from the action on screen, still feels appropriate and adds to the comic value [Yahoo Movies]. The arrival of the family members, for example, uses an energetic strings-based piece with some occasional celesta or vibraphone to give the scene a whimsical yet invasive feel. Later, during Clark’s sled ride, Badalamenti uses a fast-paced jazz-like piece scored with piano, bass and drums that, despite the chaos of Clark flying through snow piles, forests and down a street (and finally into a collection bin), emphasizes the wild and fun aspect of the scene.

Another aspect to the soundtrack of the film in general is the use of Christmas or holiday-themed music to either legitimately or sardonically accompany the action on screen. For the most part, this is relegated to using actual Christmas songs, though Badalamenti uses others as the basis for his score to certain scenes.

For instance, Badalamenti uses an proud, orchestrated version of O Come, All Ye Faithful for the first two instances of Clark’s house lights momentarily coming on. For the final reveal, the soundtrack uses a recording of Handel’s Hallelujah chorus as Clark finally turns on the house lights for the family to see, emphasizing the joy and excitement of the moment. The film later uses the Bing Crosby and the Andrews Sisters’ 1950 cover of Mele Kalikimaka as Clark fantasizes watching Mary the lingerie clerk (Nicolette Scorsese) skinny dip the pool he hopes to have built.

The song I find to be used most sardonically/ironically in the film is the song Rudolph the Red-Nosed Reindeer, re-orchestrated by Badalamenti, while Eddie empties his RV’s waste into a sewer. The use of a tuba playing the song while an accordion chimes along with a bass and drum beat lends completes the mood of the scene by offering it a sort of profane absurdity.

The climax of the film features Gene Autry’s lively and bouncing Here Comes Santa Claus as the police prepare to storm the Griswold house. The final song is an organ-based rendition of O Say Can You See as Aunt Bethany (Mae Questal), followed by the Griswold family and police, sings the actual song while a Santa and reindeer decoration goes flying into the air as a result of an explosion.

One of the film’s softer moments features a song that I think offers important insight into Clark’s thinking. For this more sensitive moment – when Clark is locked in the attic and passes time by watching an older family Christmas movie – Ray Charles’ That Spirit of Christmas is played. The song is cut off as the attic door is opened from under Clark, abruptly changing the mood of the scene.

If there is any song – as opposed to a score cue – that I think defines what Clark really wants for his family, then this song is it. The song’s instrumentation is softer at first, using low keyboard accompanying a drum beat to a slow tempo; while the tempo never changes, the instrumentation gradually includes strings and some brass that manage to enhance the mood of the song without making it feel slower or faster. Similarly, halfway through the song (not featured after the scene) Charles is joined by a gospel choir, again further enhancing the mood of the song. Charles’ lyrics express an appreciation and longing for the idea of peace and unity – of family and people in general – during Christmastime.

Aside from the film soundtrack, the film also features an original song, Christmas Vacation, written by Barry Mann and Cynthia Weil and sung by Mavis Staples. The song was written to replace Lindsey Buckingham’s Holiday Road, which appears in every other Vacation film except Christmas Vacation [Wood]. The song itself is an excited blues song where Staples sings about getting excited for Christmas. I think this song is appropriate for two reasons, both centered on Clark Griswold. The first is that I think it does musically convey how Clark feels about the upcoming holiday. Alternatively, and semi-related, if it’s not a musical representation of Clark’s mission of the film, I think it definitely sounds like the type of music he would listen to in order to boost himself up.

Overall, I think the soundtrack to National Lampoon’s Christmas Vacation is an overlooked and underappreciated part of the film’s appeal. Angelo Badalamenti’s score perfectly reflects what is happening on-screen. The use of actual songs lend the film an additional push that emphasizes both the holiday season and the hijinks things happening during the film.

While I think the film serves itself in terms of the characters and how natural, organically and relatable the comedy and serious parts are, the score and soundtrack elevate the film from simply being watchable to legitimately enjoyable.