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## About a charlie brown christmas

***A Charlie Brown Christmas*** is a 1965 animated television special. It is the first TV special based on the comic strip *Peanuts*, by Charles M. Schulz. Produced by Lee Mendelson and directed by Bill Melendez, the program made its debut on CBS on December 9, 1965. In the special, Charlie Brown finds himself depressed despite the onset of the cheerful holiday season. Lucy suggests he direct a neighborhood Christmas play, but his best efforts are ignored and mocked by his peers when he chooses a real, but puny, Christmas tree as a centerpiece.

After the comic strip's debut in 1950, *Peanuts* had become a phenomenon worldwide by the mid-1960s. The special was commissioned and sponsored by The Coca-Cola Company, and was written over a period of several weeks, and produced on a small budget in six months. In casting the characters, the producers took an unconventional route, hiring child actors. The program's soundtrack was similarly unorthodox, featuring a jazz score by pianist Vince Guaraldi. Its lack of a laugh track (a staple in US television animation in this period), in addition to its tone, pacing, music, and animation, led both the producers and the network to predict the project would be a disaster. However, contrary to their collective apprehension, *A Charlie Brown Christmas* received high ratings and acclaim from critics. It received an Emmy and a Peabody Award, and became an annual presentation in the United States, airing on broadcast television during the Christmas season for 56 years before becoming exclusively available on Apple TV+ streaming service. Its success paved the way for a series of Peanuts television specials and films. Its jazz soundtrack achieved commercial success, selling five million copies in the US. Live theatrical versions of *A Charlie Brown Christmas* have been staged.

## Plot

On their way to join their friends ice skating on a frozen pond, Charlie Brown confides in Linus that, despite all the things he likes about the Christmas season, he is still depressed. After Linus' reproach, and a put-down from Violet, he visits Lucy's psychiatric booth and tells her his problem. She suggests that he direct the group's annual Christmas play to get him involved, and he accepts.

Charlie Brown becomes even more discouraged by his observations of Christmas' commercialization as he heads for the rehearsal: Lucy laments over not receiving real estate for Christmas; Snoopy decorates his doghouse for a neighborhood lights and display contest; and Charlie Brown's younger sister Sally asks him to write a greedy letter to Santa Claus. At the rehearsal, Charlie Brown finds a play fit for the 1960s with dancing, lively music, an uncooperative cast and a "Christmas Queen" (Lucy). Unable to control the cast, Charlie Brown decides the play needs a more "proper mood", and recommends a Christmas tree; Lucy suggests a big, pink aluminum tree, then sends him and Linus to get one.

At the tree lot, Charlie Brown picks the only real tree there, a small sapling. Linus questions his choice, but Charlie Brown believes that once decorated, it will be perfect. When they return, however, Lucy and the others scorn him and the tree and walk away laughing. Crestfallen, Charlie Brown loudly asks if anyone knows what Christmas is all about; Linus says he does, walks to center stage, asks for a spotlight, recites the annunciation to the shepherds, returns and says, "That's what Christmas is all about, Charlie Brown."

Realizing that he does not have to let commercialism ruin his own Christmas, Charlie Brown takes the tree home to decorate it and show the others that it will work in the play. He stops at Snoopy's doghouse, which had won the lights and display contest, and hangs a large red Christmas ball on his tree. The ornament's weight causes the tiny tree to bend to the ground. Believing he has killed the tree, Charlie Brown, dejected, walks away.

The others realize that they were too hard on Charlie Brown and quietly follow him. As they all start to see its potential, Linus gently uprights the drooping tree and wraps his blanket around its base to give it some support. After the others give the tree a makeover using more decorations from the doghouse, even Lucy concedes to Charlie Brown's choice. The kids then start humming "Hark! The Herald Angels Sing". Hearing them, Charlie Brown returns to see that the sapling is now a magnificent Christmas tree. All the kids shout, "Merry Christmas, Charlie Brown!", and then sing "Hark" with Charlie Brown joining in as snow begins to fall.

## Cast

* Peter Robbins as Charlie Brown
* Christopher Shea as Linus van Pelt
* Tracy Stratford as Lucille "Lucy" van Pelt
* Cathy Steinberg as Sally Brown
* Chris Doran as Schroeder and Shermy
* Geoffrey Ornstein as Pig-Pen
* Sally Dryer as Violet
* Anne Altieri as Frieda
* Bill Melendez as Snoopy
* Karen Mendelson as Patty
* Choral vocals: Members of the children's choir of St. Paul's Episcopal Church (San Rafael, California) directed by Robert “Barry” Mineah. The choir was recognized for their contribution to this work at a 40-year anniversary at the Schulz Museum in Santa Rosa.[*citation needed*] The choir was also featured on the Vince Guaraldi recording *At Grace Cathedral*.

## Production[edit]

### Development[edit]

By the early 1960s, Charles M. Schulz's comic strip *Peanuts* had gained enormous popularity. Television producer Lee Mendelson acknowledged the strip's cultural impression and had an idea for a documentary on its success, phoning Schulz to propose the idea. Schulz, an avid baseball fan, recognized Mendelson from his documentary on ballplayer Willie Mays, *A Man Named Mays*, and invited him to his home in Sebastopol, California, to discuss the project. Their meeting was cordial, with the plan to produce a half-hour documentary set. Mendelson wanted to feature roughly "one or two" minutes of animation, and Schulz suggested animator Bill Melendez, with whom he collaborated some years before on a spot for the Ford Motor Company. Mendelson later stated that he was drawn to doing an animated Charlie Brown after working on *A Man Named Mays*, noting that Mays was arguably the best baseball player of all time, while Charlie Brown, in a running gag in the strips, was one of the worst, making him a natural follow-up subject to his previous work.

Despite the popularity of the strip and acclaim from advertisers, networks were not interested in the special. By April 1965, *Time* featured the *Peanuts* gang on its magazine cover, perhaps prompting a call from John Allen of the New York-based McCann Erickson Agency. Mendelson imagined he would sell his documentary, and blindly agreed to Allen's proposal: an animated half-hour *Peanuts* Christmas special. The Coca-Cola Company was looking for a special to sponsor during the holiday season. "The bad news is that today is Wednesday and they'll need an outline in Atlanta by Monday," Allen remarked to Mendelson. He quickly contacted Schulz, and the two got to work with plans for a *Peanuts* Christmas special. The duo prepared an outline for the Coca-Cola executives in less than one day, and Mendelson would later recall that the bulk of ideas came from Schulz, whose "ideas flowed nonstop." According to Mendelson, their pitch to Coca-Cola consisted of "winter scenes, a school play, a scene to be read from the Bible, and a sound track combining jazz and traditional music." The outline did not change over the course of its production.

As Allen was in Europe, the duo received no feedback on their pitch for several days. When Allen got in touch with them, he informed them that Coca-Cola wanted to buy the special, but also wanted it for an early December broadcast, giving the duo just six months to scramble together a team to produce the special. Mendelson assured him – without complete confidence in his statements – that this would be no problem. Following this, *A Charlie Brown Christmas* entered production.

### Writing[edit]

Schulz's main goal for a *Peanuts*-based Christmas special was to focus on the true meaning of Christmas. He desired to juxtapose this theme with interspersed shots of snow and ice-skating, perhaps inspired by his own childhood growing up in St. Paul, Minnesota. He also created the idea for the school play, and mixing jazz with traditional Christmas carols. Schulz was adamant about Linus' reading of the Bible, despite Mendelson and Melendez's concerns that religion was a controversial topic, especially on television. Melendez recalled Schulz turned to him and remarked, "If we don't do it, who will?". Schulz's estimation proved accurate, and in the 1960s, fewer than nine percent of television Christmas episodes contained a substantive reference to religion, according to university researcher Stephen Lind.

Schulz's faith in the Bible stemmed from his Midwest background and religious and historical studies; as such, aspects of religion would be a topic of study throughout his life. According to a 2015 "spiritual biography", Schulz's religion was personal and complex, and would be integrated in a number of his programs.

The program's script has been described as "barebones", and was completed in only a few weeks. In the days following the special's sell to Coca-Cola, Mendelson and animator Bill Melendez met with Schulz in his home to expand upon the ideas promised in the pitch. Mendelson remembered that on the previous Christmas Day he and his spouse had read Hans Christian Andersen's "The Fir-Tree" to their children. Schulz countered with the idea that there be a tree with the spirit of lead character Charlie Brown. They spoke at length about creating an official theme that was neither jazz nor traditional to open the program. Schulz wanted a part of the special to feature the character of Schroeder performing Beethoven, and Mendelson combined this with the inclusion of Vince Guaraldi's "Linus and Lucy" number. Schulz penned the script for *A Charlie Brown Christmas*, with Melendez plotting out the animation via a storyboard. His storyboard contained six panels for each shot, spanning a combined eighty or-so pages.

Mendelson also suggested they employ a laugh track, a staple of television animation, but Schulz rejected this idea immediately. "Up until then, many, if not all, animated shows had laugh tracks," said Mendelson. "As we were discussing how we would handle our special, I said very casually, 'I assume we'll have a laugh track.' It was a statement, not a question. Sparky just got up and quietly walked out of the room. We looked at each other, then Bill said, 'Well, I guess we won't have a laugh track.' Sparky came back in the room, and we went on with the meeting as if the subject had never come up." Schulz felt strongly that the audience at home should not be instructed when to laugh.

### Casting[edit]

In casting the silent comic strip characters of *Peanuts*, the trio pulled from their personalities. Lead character Charlie Brown's voice was decided to be downbeat and nondescript ("blah," as Mendelson observed), while Lucy be bold and forthright. Linus' voice, it was decided, would combine both sophistication with childlike innocence. Mendelson recognized that the character of Snoopy was the strip's most popular character who seemed to seize "the best jokes," but realized they could not cast a voice for the cartoon dog. "In the process, we gained a veritable 'canine Harpo Marx,'" Mendelson later wrote. Melendez suggested he provide gibberish for Snoopy's mutterings, and simply speed up the tape to prevent viewers from knowing. There are no adult characters in the strip or in this special. Later specials would introduce an offscreen teacher; her lines are eschewed for the sound of a muted trombone (suggested by Guaraldi) as the team behind the specials found it humorous.

With this in mind, the trio set out to cast the characters, which proved to be a daunting process. Casting for Charlie Brown proved most difficult, as it required both good acting skills but also the ability to appear nonchalant. The producers picked eight-year-old Peter Robbins, already known for his roles spanning television, film, and advertisements. Robbins considered Charlie Brown to be one of his favorite characters, and despite leaving acting as an adult, he considered his time in the role a highlight of his life. His godmother, Hollywood agent Hazel McMillen, discovered Christopher Shea, who would become Linus in the special. His slight lisp, according to Mendelson, gave him a "youthful sweetness," while his emotional script reading "gave him power and authority as well." Tracy Stratford played the role of Lucy, with the creators being impressed by her attitude and professionalism. Kathy Steinberg was the youngest of the performers, just six years old at the time of recording. Too young to read, the producers had to give her one line at a time to recite. Robbins remembered Melendez did this for him as well, joking that he also mistakenly copied his Latino accent. Mendelson desired to have non-actors (not "Hollywood kids") perform on the special, and he sent tape recorders home with his employees for their children to audition.

Much of the background cast came from Mendelson's home neighborhood in northern California. According to Robbins, the children viewed the script's sophisticated dialogue as "edgy," finding several words and phrases, among them "eastern syndicate", difficult to pronounce. He recalled the recording sessions as chaotic, with excited children running rampant. Nevertheless, the recording of *A Charlie Brown Christmas* was completed in one day. Jefferson Airplane was recording next door and came over to obtain the children's autographs. Following the special's broadcast, the children became wildly popular in their respective elementary schools; Robbins recalled groups approaching him asking him to recite lines of dialogue.

### Animation[edit]

Animation for *A Charlie Brown Christmas* was created by Bill Melendez Productions. Mendelson had no idea whether or not completing a half-hour's worth of animation would be possible given the production's six-month schedule, but Melendez confirmed its feasibility. In actuality, animation was only completed in the final four months of production. CBS initially wanted an hour's worth of animation, but Melendez talked them down to a half-hour special, believing an hour of television animation was too much. Having never worked on a half-hour special before, Melendez phoned Bill Hanna of Hanna-Barbera for advice, but Hanna declined to give any. CBS gave a budget of $76,000 to produce the show and it went $20,000 over budget. The first step in creating the animation was to make a pencil drawing, afterwards inking and painting the drawing onto a cel. The cel was then placed onto a painted background. There are 13,000 drawings in the special, with 12 frames per second to create the illusion of movement.

Melendez had previously worked for Warner Bros. and Disney, and working on *Peanuts*-related material gave him a chance to animate a truly flat cartoon design. The movement of Schulz's characters, particularly the *Peanuts* gang, was limited. The character of Snoopy, however, proved the exception to the rule. "He can do anything – move and dance – and he's very easy to animate," said Melendez.