January 13 is Saint Knut’s Day! What?

Photographs of *nuuttipukit*: Finns who dressed as goats in order to procure beer and leftovers after Christmas.

By Hunter Dukes

A goat thing lurks behind the barn. There are horns and an empty skull, but its fleece looks thieved from a sheep. Where you might expect a tail, there’s only a truss of twigs — a sauna vihta, made for whipping flesh. It appears to be wearing boots. This is nuuttipukki, and he has come to slurp your booze and feast on scraps. You must let him in.

“Good Tuomas brought Christmas”, a Finnish saying tells us, “and bad Nuutti took it away”. Appearing in written sources from the mid-nineteenth century, and suspected to originate much earlier, nuuttipukki (aka nuutipukkiknuutipukkiknuuttipukki, or knuutinpukki) appears on Saint Knut’s Day, January 13, the end of the Christmas season in Finland. Once possibly part of a fertility rite associated with the harvest festival Kekri — in which shamans donned bovid horns — this seasonal goat became Christianized in the Santa Clause–like figure of joulupukki, literally “Christmas goat”, part of a wider Yule tradition in northern Europe.

Nuuttipukit, on the other hand, have shades of Krampus: they do not bring presents to children, but roam together in flocks, knocking on doors and grazing on beer and leftover casseroles. In earlier times, these goats were eligible, single men, but remained anonymous, so as not to attract the attention of the dead. Although their costumes and behavior could be frightening, it was considered bad luck to turn away a knocking nuutti. They wore birchbark or leather masks, and draped themselves in skins, coats, or straw, sometimes brandishing swords.

Photograph of a figure covered in straw

Aino Oksanen, “Nuutti Being Prepared”, 1926 — Source.

Since kegs ran low after Christmas, nuuttipukit often drank the thick, cloudy dregs at a barrel’s bottom, and became associated with yeast. Havoc ensued if a goat’s thirst went unslaked. According to legend, after exiting a house, they occasionally wrote receipts on its walls, notes to future goat boys that a debt had been paid. A version of the tradition lives on in southwestern Finland, especially the region of Satakunta, and the Åland Islands, although the drunk and randy goat bachelors have been replaced by children, and the pantry-raiding by song and pantomime. Finland’s Nordic neighbors have their own goaty tendencies: Norwegians have been known to don disguises and go julebukking; and Swedish citizens of Gävle erect an annual goat effigy that makes The Wicker Man seem almost run of the mill.

The photographs of nuuttipukit collected below were taken in 1928 near the town of Lunkaa in the municipality of Tammela by Toivo Kakoranta, a Finnish folklorist, intelligence officer, and magazine editor, who helped preserve regional stories and dialects in the tradition of Elias Lönnrot. Along with these images, you can enjoy a cheery holiday song collected near Heinola in 1914:

I fed the Nuutti, I gave the Nuutti drink
I put the Nuutti in the corner to sleep.
The Nuutti slept in its filth, sinking into its rags.
That over there . . .
if something is lying over there
then I am probably naughty,
if I come round to yours.

Special thanks to Emma Vehviläinen.

Source: Season’s Bleatings: Finnish Photographs of the Nuuttipukki (1928) — The Public Domain Review

10 Great British Christmas films

Highlights from more than 125 years of homegrown Christmas movies, from Cash on Demand to Brazil.

By David Parkinson

British filmmakers have been producing Christmas pictures for more than 125 years, dating back to G.A. Smith’s Santa Claus in 1898. In 1901 came R.W. Paul’s Scrooge, or Marley’s Ghost (1901), the first of over 400 worldwide screen adaptations of A Christmas Carol, starring Daniel Smith as Charles Dickens’s miser. Sadly, only a three-minute fragment of this survives, but the spooky superimpositions set a trend for festive chillers that has continued with titles as varied as The Legend of Hell House (1973), Don’t Open till Christmas (1984) and Wind Chill (2007).

There are Yuletide vignettes in the classic horror anthologies Dead of Night (1945) and Tales from the Crypt (1972), while Terence Davies created memorably unsettling Christmas scenes in Distant Voices, Still Lives (1988) and The Long Day Closes (1992). Indeed, a number of significant British features have included festive segments, among them Things to Come (1936), On Her Majesty’s Secret Service (1969), Morvern Callar (2002) and All of Us Strangers (2023).

Others have holiday settings that aren’t central to the action, such as The Lion in Winter (1968), Twelfth Night (1996) and The Eternal Daughter (2022). Social realist outings like Hector (2015) are relatively scarce, but there are countless cosy romcoms, including Love Actually (2003), which is currently on the naughty list, along with the sad but seedy sexploitation saga Escort Girls (1974). For causing seasonal offence, however, nothing can top Ken Russell’s final short, A Kitten for Hitler (2007).

This year, Richard Curtis’s That Christmas is hoping to become an animated favourite to rank alongside the likes of The Candlemaker (1957), The Snowman (1982) and Arthur Christmas (2011). Do seek out Nadolig Plentyn Yng Nghymru (2008), a Welsh-language version of Dylan Thomas’s A Child’s Christmas in Wales. But we also hope you find something here to brighten your holiday.

Scrooge (1951)

Director: Brian Desmond Hurst

Scrooge (1951)

There have been various excellent screen manifestations of Charles Dickens’s story about a miser who becomes the embodiment of Christmas spirit after three spectral visitations. Starring Seymour Hicks, the 1935 film Scrooge broke the mold by having a female ghost, played by Marie Ney. But it’s Brian Desmond Hurst’s 1951 version that has become the classic, and that’s largely due to the performance of Alistair Sim, whose bereftness at the loss of his beloved sister sets him on the path to callous avarice, albeit abetted by Mr Jorkin, a character who was invented by screenwriter Noel Langley, who also boosted the part of cleaning-woman Mrs Dilber for Kathleen Harrison.

Built at Nettlefold Studios, the sets capture the chasm between the classes, as do the character-defining costumes. The double-exposed hauntings may not inspire dread, although the influence of expressionism is evident in C.M. Pennington-Richards’ cinematography. But this is Sim’s show, and he revisited Ebenezer in the Oscar-winning 1971 animation, A Christmas Carol.

The Holly and the Ivy (1952)

Director: George More O’Ferrall

The Holly and the Ivy (1952)

In this Chekhovian chamber drama, based on a 1950 West End hit by playwright Wynyard Browne derived from his own experiences, the children of a Norfolk parson gather at a snowy vicarage for Christmas. Fashionista Margaret (Margaret Leighton) and soldier Michael (Denholm Elliott) are reluctant visitors to Wyndenham, as they have lost their faith and grown apart from sister Jenny (Celia Johnson), who has rejected the marriage proposal of a local engineer (John Gregson) to care for their father. However, the Reverend Martin Gregory (Ralph Richardson) isn’t the dog-collared martinet they envisage and empathises with problems that anticipate those that would shock sensibilities during Britain’s social-realist new wave.

Indeed, despite the cut-glass accents of a cast who unusually rehearsed on the sets before shooting in sequence, there’s something enduringly relevant about such themes as the breakdown of communication, the anguish of alienation, the demise of deference, and the vagaries of family life.

The Crowded Day (1954)

Director: John Guillermin

The Crowded Day (1954)

Department stores have often cropped up in festive features, but there’s little comfort or joy in this sophisticated soap opera from emerging director John Guillermin. He keeps his camera moving to convey the bustle at Bunting and Hobbs, while also deftly shifting tone to follow the fortunes of five women who work on various counters.

The storyline centring on Yvonne (Josephine Griffin) was considered scandalous for its time, as she discovers she’s pregnant by a man from a wealthy family. Even more shockingly, would-be film star Suzy (Vera Day) is assaulted by a chauffeur posing as a director. Despite reflecting the changing attitudes and aspirations of a country finally emerging from post-war austerity, screenwriter Talbot Rothwell would skirt such realist inclinations in his 20 Carry On films, and he sees the lighter side of the romantic tussle between Joan Rice and John Gregson, who even has a vintage car, as in the previous year’s Genevieve.

On the Twelfth Day… (1955)

Director: Wendy Toye

On the Twelfth Day… (1955)

When it came to feminism, pioneering British filmmaker Wendy Toye reckoned that “doing something and getting on with it and not being a crashing bore about things is probably better than getting on a platform and making some big speech”. She ably proved her point with this delightful satire on courtship rituals, in which she plays Miss Tilly, an Edwardian woman who is bombarded by her earnest ‘true love’ (David O’Brien) with gifts inspired by the song ‘The 12 Days of Christmas’. Chaos ensues, as the set designed by cartoonist Ronald Searle is overrun by what Time magazine called a “pyramiding progression of flora, fauna and assorted humans”.

Toye and Searle had collaborated on the stage play Wild Thyme (1955), and would reunite on the Butter Board-sponsored A.A. Milne adaptation The King’s Breakfast (1963). But it was this Eastmancolour debunking of romance, nostalgia and festive cheer that earned them an Oscar nomination for best live-action short.

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To “poor on’ry people, like you and like I,” Merry Christmas from The Hobbledehoy!

By Dai Bando

The haunting Christmas hymn “I Wonder as I Wander” was written in 1933 by John Jacob Niles. Niles grew up on a farm in Louisville during the Great Depression. His dad was a square dance caller and his mother, of German descent and the intellectual of the family, would read her son the poems of Shelly and Keats at bedside.

As a young man, Niles began collecting songs and stories, in the tradition of Alan Lomax. In his biography Niles admitted that he “derived the germ of the song” (aka, “swiped”) from the young daughter of a traveling evangelist in the hills of Kentucky. He later composed the complete folk song that he performed while accompanying himself on dulcimer. 

John Jacob Niles

Niles recorded the song in an eerily high-pitched, dramatic style (a turn-off to many listeners, but not Bob Dylan who was a big fan of Niles). There are several other excellent versions, notably Joan Baez, Julie Andrews, The Cambridge Singers, and Bobbie Gentry, who performed it live on the Ed Sullivan Show. I love Burl Ives version best. His pure yet folksy vocal is probably closest to the song’s Appalachian roots.

Burl Ives sang with Woody Guthrie with The Almanac Singers, had a number of Country/Folk hit songs, and enjoyed a long career in Hollywood. He has the rare distinction co-starring with Paul Newman and Elizabeth Taylor (in “Cat On a Hot Tin Roof” 1958), as well as that bearded method actor Yukon Cornelius (in “Rudolph the Red Nosed Reindeer,” 1964). Ives provided the voice the snowman narrator of that Christmas animated classic.

I love the profound Sorrow and even Doubt both the music and lyric evokes. “I Wonder as I Wander”

“I wonder as I wander out under the sky,
How Jesus the Savior did come for to die.
For poor on’ry people like you and like I…
I wonder as I wander out under the sky.”

To Poor on,ry people, like you and like I …. Merry Christmas from The Hobbledehoy!

Christmas Classic: “I Saw Three Ships A Sailing” The Chieftains with Marianne Faithfull

“I Saw Three Ships (Come Sailing In)” is a traditional and popular Christmas carol and folk song from England, listed as number 700 in the Roud Folk Song Index. The earliest printed version of “I Saw Three Ships” is from the 17th century, possibly Derbyshire, and was also published by William Sandys in 1833.

The song was probably traditionally known as “As I Sat On a Sunny Bank” [per Wikipedia]

The Bells of Dublin is a 1991 album of Christmas songs and traditional carols by the Irish band The Chieftains. The album features guest performances by various artists, including Elvis Costello, Jackson Browne, Kate & Anna McGarrigle, Marianne Faithfull, Nanci Griffith, Rickie Lee Jones and the actor Burgess Meredith.

Writing in the album’s liner notes, Paddy Moloney said, “These recording sessions hold special memories for The Chieftains and myself, and bring together all the colours of this festive season.”

Lyrics

I saw three ships come sailing in
On Christmas day, on Christmas day,
I saw three ships come sailing in
On Christmas day in the morning.

And what was in those ships all three,
On Christmas day, on Christmas day,
And what was in those ships all three,
On Christmas day in the morning?

Our Saviour, Christ, and His Lady,
On Christmas day, on Christmas day,
Our Saviour, Christ, and His Lady,
On Christmas day in the morning.

And all the bells on earth shall ring
On Christmas day, on Christmas day,
And all the bells on earth shall ring
On Christmas day in the morning.

And all the angels in Heaven shall sing
On Christmas day, on Christmas day,
And all the angels in Heaven shall sing
On Christmas day in the morning.

And let us all rejoice and sing
On Christmas day, on Christmas day,
And let us all rejoice and sing
On Christmas day in the morning.
On Christmas day in the morning.