Home Alone is a Dickensian, Supernatural Test of the McCallisters

A Fan Theory

This post is the first in a new series called Fan Theory Fridays, in which we will share and explore a new fan theory about a film, television series, book, or other fictional narrative. For more on what a fan theory is—and what it isn’t—please read D. F. Lovett’s previous explorations of the subject.

I thought I hated Home Alone.

So when a friend invited me to attend a matinee viewing of it at the new Parkway Theater in south Minneapolis, I wasn’t sure whether to accept. The idea of watching the film did not spark nostalgic giddiness or ironic snark, but more a sense of nameless dread that I would be trapped in a dark room for two hours with a swarm of squirming children and a few of my fellow childless buddies, wondering why we had thought this a good idea.

home-alone
Classic.

Of course, despite my dread, there were a few reasons I went. Namely: my friend had already bought the tickets and he assured me it would be “more hipsters than children”. That, and as he reminded me, “it’s a John Hughes movie with Joe Pesci, John Candy, and Katherine O’Hara in it.” Finally, I’m currently writing a novel partially set in the ‘90s and I thought it would be good to subject myself to a forced trip down memory lane.

Here’s the thing about Home Alone: I was pleasantly surprised. It’s a much better film than I remember it being and probably a better film than you remember it being. The plot structure should be taught in film school. The performances are sublime. The John Williams soundtrack is masterful.

There was, however, one thing that threw me off about the film: it was both much darker and more vaguely supernatural than I recalled it being.

I remembered the bed wetting subplot but had no memory of Kevin’s uncle calling him “a little jerk” or the objectively bad parenting that resulted in Kevin being left home alone in the first place. I remembered John Candy’s role as a polka king but had forgotten his haunting story about forgetting his own child in a funeral home for an entire day.

I remembered the scary old man and Buzz’s tall tale that he was a murderer or something. I did not remember that his name was Old Man Marley. I did not remember his story about being estranged from his son. I didn’t even remember him serving as a Deus Ex Machina, arriving to save Kevin from what would have been certain death at the hand of two bumbling crooks who, in the film’s final moments, escalate from cat burglars to attempted child murderers.

While Home Alone is indeed better than I remember it, that’s not what I’m writing about today.

I have come not to review Home Alone, but to theorize about it. And, specifically, the role played by Old Man Marley. Continue reading “Home Alone is a Dickensian, Supernatural Test of the McCallisters”

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