Since its release on Oct. 29, 1993, “The Nightmare Before Christmas” has named its place in cinematic history as an iconic stop-motion masterpiece. The film continues to entertain year after year, making it a holiday season staple. But for all its timeless charm, “The Nightmare Before Christmas” has left viewers with one hotly debated question, almost as existential as the film itself: Is it a Halloween movie, or is it a Christmas movie?
Is it a Halloween Movie?
To untangle the film’s identity crisis (much like Jack’s own crisis), one must first address its roots. Premiering just two days shy of Halloween, the film debuted at a time when theaters were decorated with cobwebs and jack-o’-lanterns. Its titular setting, Halloween Town, is populated by skeletons, ghosts and witches: this is a society wholly dedicated to their holiday. At the center is Jack Skellington, the Pumpkin King, who is the personification of Halloween. If the film were judged by atmosphere alone, it would stand firmly as a Halloween classic.
No, it’s a Christmas Movie.
“Nightmare” refuses to settle for one holiday. When Jack discovers Christmas Town, a place of twinkling lights, snow-covered rooftops and pine trees, he becomes obsessed with the difference from his own town. His efforts to co-opt Christmas, however misguided, drive the narrative. Jack’s red suit, his skeletal reindeer and even his hilariously disastrous gifts, all lean into Christmas imagery. Even the film’s climactic scenes are filled with the high stakes and heartwarming resolutions common among Christmas movies, even taking place on Christmas Eve! Halloween is over by the time the film starts, and they are gearing towards Christmas time. It is all about Christmas after all, isn’t it?
Is it Both?
However, we must also consider the soundtrack composed by Danny Elfman. It juggles the aesthetics of both holidays. The opening number, “This Is Halloween,” is completely full of spooky music and childhood nightmares. But then we have “What’s This?” a jolly jingle about Jack’s discovery of Christmas Town. The film’s auditory landscape, much like its visual one, feels like a celebration of both holidays. It is neither one nor the other, but both.
Perhaps it’s fitting that “The Nightmare Before Christmas” resists categorization. Its dual identity mirrors the very journey of its protagonist. As Jack’s journey unfolds, it becomes clear that his fascination with Christmas is less about the holiday itself and more about his own sense of purpose. He begins the story as a restless figure, tired of his role as the Pumpkin King. His raid on Christmas isn’t so much an embrace of the season as it is an attempt to escape himself.
In the end, though, Jack returns to Halloween Town, re-embracing his role as Pumpkin King. Does this resolution tip the scales in favor of Halloween? Or is the film’s overarching theme, the rediscovery of one’s true self, a message more akin to the redemptive arcs of Christmas classics like “A Christmas Carol?”
What it Must Be
In October this year, the director, Henry Selick, claimed that at heart, it is a Christmas movie. But in 2015, he also claimed it was a Halloween movie. Danny Elfman claimed he was Team Halloween in 2019.
Ultimately, “The Nightmare Before Christmas” is less about choosing a side and more about the interplay between opposites. Halloween and Christmas may seem like opposite ends of the holiday season, but the film dips into both holidays, just like the main protagonist. But much like Jack’s journey, the film ultimately declares the importance of staying true to oneself. So, is “The Nightmare Before Christmas” a Halloween movie or a Christmas movie? It is up to interpretation, honestly.
But for all its Christmas warmth, I think the answer is in Jack’s final revelation: He is the Pumpkin King. This must be a Halloween movie.
