Other answers could be offered—Paramount, where "Christmas in July" was shot, or the genre of the screwball comedy, or even Frank Capra, whose blend of sentiment, slapstick and social commentary feels more prevalent in "July" than the more idiosyncratic blend of character and style that Sturges would perfect on "The Lady Eve" a year later. The question is interesting because authorship, success and their uncertain effects on one's identity are one of the major themes of "July,"
and because that question of who controls the holiday narrative—at least in media terms—seems to be the contemporary Christmas gift that keeps on giving, from "Wars on Christmas" to movie marathons, holiday-themed songs, and "Very Special" television episodes. "Christmas In July," as its title suggests, has its own cockeyed take on holiday identity. It's not set at Christmas, and references the holiday only in the most secular sense. But the generosity, family, forgiveness and sense of supporting the less fortunate that dominates this scene, and so much of the rest of the film, certainly embodies the best of the season's spirit. The rest of it, as Jimmy might say, is just bunk.
