azathothpwiggins It's Christmastime, and the sisters in a sorority house are getting ready to go off on their various holiday excursions. Unbeknownst to any of them, someone has climbed in through the attic window. This can't be good, especially since they've recently been receiving a series of very disturbing phone calls from someone they've dubbed "Super Tongue". When a girl named Clare vanishes, the fear begins to build. Those who've stayed behind, will wish they had gone home this Christmas. Director, Bob Clark (CHILDREN SHOULDN'T PLAY WITH DEAD THINGS, DEATHDREAM) has fashioned a yuletide classic of terror w/ BLACK CHRISTMAS. The mysterious intruder is creepy and menacing, and the obscene calls are truly deranged. Listening closely to them, one gets an idea of just what sort of person is making them, which deepens the sense of unease and coming tragedy. Jess (Olivia Hussey) gets the worst of the phone calls, and could be in grave danger. Her hot-tempered boyfriend, Peter (Keir Dullea- BUNNY LAKE IS MISSING) is a little unhinged himself. Offsetting all this, is a wicked sense of humor, exemplified by the bawdy, happily audacious Barb (Margot Kidder). Never without a drink and / or a cigarette, she can't seem to open her mouth, unless a dirty joke comes out! Amazingly, the levity only serves to increase the level of dread. Co-stars John Saxon (A NIGHTMARE ON ELM STREET) as police Lt. Fuller. A highly influential masterpiece of horror...

thelastblogontheleft Black Christmas, also known as Silent Night, Evil Night (the title they initially gave it for the first American screenings so movie-goers wouldn't mistake it for a blaxploitation film), is generally considered to be one of the first classic slasher flicks, and apparently even had a hand in inspiring John Carpenter's Halloween. But you might know director Bob Clark from a very different Christmas movie - one that will probably be playing on at least one 24-hour loop on some basic cable channel this week - A Christmas Story.It's a shame that this movie didn't get the recognition it deserved at the time, but it has gone on to become a cult horror film in the years since. It's smart, well-acted, wonderfully shot, terrifying, and even genuinely funny at times.** SPOILERS! **I knew I was in for a treat during the opening shots, moving seamlessly between the inside and outside of the beautiful sorority house and showing POV shots of the mysterious killer making his way around the home (I especially loved the shot of him climbing the trellis). There's a great theme throughout of happy, celebratory, or even just mundane things going on in the house while the killer lurks within... super creepy. I think the whole "Babysitter and the Man Upstairs" legend in general is TERRIFYING so the use of it was great - it's one thing to know that the threat is outside trying to get in, but what about when you're locking it inside with you? The search party coming by and almost cheerfully reminding the girls to "just keep your doors and windows locked and you'll be safe!" was a chilling reminder.The phone calls were surprisingly scary - and surprisingly vulgar. The killer's alternating between multiple voices/personalities, seeming to scold himself at times, crying, screaming... the calls became more and more frenzied and his incomprehensible fury makes him unrecognizable as even a human threat. There's no way to know his background, his motives, which makes him terrifying in a much less tangible way. We can't relate to him, we can't see our own pain or shortcomings in his motivation, which makes him completely unpredictable and alien.I enjoyed that, aside from the (possibly unrelated?) girl being killed in the nearby park, the main characters don't have any idea that murder is afoot until it's too late. The victims themselves have NO idea, but even Jess (Olivia Hussey) has no indication that anyone has been killed until she finally swings Barb's bedroom door open in the last 15 minutes or so - we're the only people privy to that information.Speaking of which, the kills - surprisingly few, really, considering its status as a slasher film - are all creative and well done. There's no lingering on blood spurting from knife wounds, no over-exaggerated looks of horror that go on for too long, no shirts being ripped open for no reason besides showing a hint of breasts. They're quick and effective but still fun. My favorite is probably Barb being stabbed with her own crystal unicorn grabbed from behind her bed - shot beautifully and the juxtaposition of Jess listening to a young choir singing carols downstairs is just awesome - but the image of Clare in the rocking chair with the plastic garment bag sucked into her mouth is classic for a reason. That reveal definitely got a gasp from me, and the occasional return to the attic - showing his hand rocking the chair her corpse sat in, or her cat innocently licking the bag she was contained in - was a cruel reminder that the search for her was hopeless.There's no denying that there's a strong feminist undertone to the whole film - or, really, far less subtle than that. This movie taking place in the early 70's - and just a year after Roe v. Wade was decided - is important context for its content. Women being terrorized by a dominating and violent male presence is par for the course for countless horror and slasher films, but it feels more relevant here, more close to home. Barb's murder being the most intimate - taking place in her own bedroom, practically in the throes of sleep, with one of her own belongings - was no accident considering we saw her crassness offend multiple male authority figures (Clare's father and a local sergeant, most obviously, but she fights back - verbally anyway - against the crazed prank caller, too).In addition to the more direct threat of the looming killer, we have more pervasive examples of men attempting to silence women in a variety of ways. The bumbling sergeant first ignoring Clare going missing because she's probably shacked up with some guy and then ignoring the prank calls because it's "probably one of your boyfriends playing a joke". Clare's father is basically just walking disapproval throughout the entire movie, turning his nose up at Mrs. Mac's language, posters around the sorority house, and Barb's attempts to be humorous in her slurred, drunken state.And, more directly, there is Jess informing her boyfriend, Peter (Keir Dullea), in no unclear terms that she is pregnant with his child and seeking an abortion. Again, the freshness of Roe v. Wade in American society informed his hateful response - "don't you think about anyone but yourself", and later "let's get one thing straight: you are not going to abort that baby". He's outraged at the idea that she dare make a decision about her own body without his express approval, and is pushed further into his own spiral of deflecting blame when she rejects his very matter-of-fact marriage proposal. He's belligerent to the point of being rightfully suspected as the killer - especially after seeing him destroy that piano after his unfavorable recital.The irony of such gruesome acts being carried out during what is supposed to be the happiest, coziest time of year is constant but not obnoxiously so - it's more something that we notice rather than something that is being told to us, if that makes sense. The warm glow of the colored Christmas lights, the metallic tinsel on the wreaths, the campus emptying out as people scurry off to see their families... it all feels incredibly nostalgic until we remember there's a goddamn psychopath holed up in the attic.Which leads us to the ending, which is amazingly dark, even for a horror flick. There is so often some kind of humanization of the villain, or maybe a dramatic standoff between the final survivor and the killer. We almost get that, or at least we think we might, when Jess is cowering in the basement after Peter smashes his way in. When the police find her slumped over with a dead Peter on top of her, we think there's a chance - albeit small - that the nightmare is over. Jess has not only defeated her would-be killer, but she's defeated this domineering male presence that is trying to control her. But as the camera pans away from her, sedated in bed, and glides by the attic - mumbling and giggling echoing off the walls - and eventually outside, we hear the phone ringing and ringing as the credits roll, and we're reminded that evil often does prevail.Ultimately, a brilliant and sorely under-appreciated film. Go watch it now, get into the Christmas spirit!

morrison-dylan-fan Catching the fizzy Pop-Rock (sort of) Slasher Happy Death Day,I decided that I would stay in the sub-genre,and watch a Slasher flick the next day at home. Planning for it to be The Burning,I got caught completely by surprise,when a very kind IMDber sent me a parcel. Despite seeing A Christmas Story every year since childhood,I've never seen Bob Clark's "Horror" take on the holiday,which led to me finding out how black this X-Mas could be."The plot:At a sorority house Christmas party, a stranger sneaks in and climbs into the empty attic. During their partying,Jess gets a call from a stranger. Allowing fellow students Barb Coard/Phyllis "Phyl" Carlson and Clare Harrison to listen in,Jess is told by the caller that he is going to kill them all. Whilst they debate if the threat is serious,Harrison goes to pack her bags for the holidays. Hearing a noise as she walks upstairs,Harrison finds out how serious this cold Christmas call is.View on the film:Becoming Elvis's favourite horror,the level of care (un- credited) co-writer/(with Roy Moore) director Bob Clark & cinematographer Reginald H. Morris put in,allow this to remain The King of the Slasher genre. Opening in the middle of a holiday party,the screenplay by Clark and Moore impressively alters the image of the pretty young gang with impressive layers of maturity,as Jess goes to the cops to unmask the identity of the caller,and the initial sweet romance image is changed to a frank,adult discussion on abortion (with the writers breaking a big taboo at the time by letting Jess have a free-choice.) Along with the tough personal dramas they each face,the writers unwrap winning Slasher cuts,via each call building anticipation to the next appearance of the stranger, an eerie passage of time between the incredibly macabre killings,that give the final an unpredictable,nail-biting chill.Wisely keeping the identity of the killer vague, (three people dubbed the "voice") Clark and Reginald H. Morris build on the stylisation of the Giallo, via smoothly handled,extended first- person tracking shots that slither in the background of the house,and an ending (which Clark had to fight for) which covers the winters tale in a haunted,ghostly atmosphere,of the mystery being unfinished. Backed by the spine-tingling score of Carl Zitter (who got the sound by playing the strings of his piano with forks, combs, and knives!) Clark melts the snow away with a jet-black comedic strike,as the pile of bodies look out on the Christmas scenery.Only working for the first week of production, (with clever editing making him appear more prominent) Keir Dullea hits icy notes of doubt as Jess's boyfriend Peter,and Margot Kidder pours merry cheer as Jess's close friend Babs. Advised by a psychic to take the role (!) the elegant Olivia Hussey gives an excellent performance as Jess,thanks to Hussey bringing across Jess's thoughtful, rational solutions to closing the book on this bloody Christmas carol.

trishaade My understanding is that BLACK Christmas is considered to be a cult classic because it is one of the first slasher movies; it laid the foundations for those that came later. Although pretty well done overall, it does have some problems. The film is lightly based on an urban legend - it concerns a Christmas holiday murderer who primarily targets those living in a sorority house. The killer may or may not be involved in some other murders around town, but the focus here is on the people living in the house.The acting is fairly well done by all of the cast, however, some of the characters are very one dimensional. We only see one side of their personality - the conservative virgin, the vulgar party girl and the inept policeman are perfect examples. There are others who are a little more fleshed out and have more depth to them, but the movie does suffer from that shallowness as many horror movies do.Unlike the slashers that came later, BLACK Christmas is very tame in it's graphic violence. Many of the murders take place off screen although the aftermath is generally seen. Although very little blood is filmed, the movie does have a fair amount of bad language so be warned if you don't like profanity or sexual references. It's definitely not suitable for kids.The film is really genuinely creepy in parts, especially in the interactions between the killer and the girls living in the sorority house. The ending is quite creepy as well.Parts of the movie don't make a lot of sense though. I don't want to get into any spoilers here, but lets just say that certain things should easily be heard when things are quiet. And of course, you have the character who stays and puts herself in danger when she's knows that things are quite amiss - one of my biggest pet peeves with horror movies. The film is pretty well paced overall which made it enjoyable to watch. Although some reviewers disagree, I actually did like it's final scenes but I wouldn't want to live in a town where the police don't think things through to a logical conclusion.If you like your horror tame, this one would be a pretty good choice if you can handle the vulgarity. There are other "entry level" horror films that are better, but this one is okay. I don't know that a seasoned horror buff who likes their movies bloody and violent would like it though.