Category: Reviews

Synopsis

During a Christmas party at the Pi Kappa Sigma sorority house, a stranger sneaks in and hides in the attic. At the party, the girls get an obscene phone call from someone they call "The Moaner." Upset by the call, Clare (Lynn Griffin) goes upstairs to pack, only to fall victim to the stranger. Clare's father (James Edmond) asks the sorority sisters for help when she fails to meet him the next day. Jess (Olivia Hussey), Barb (Margot Kidder), and Phyl (Andrea Martin) try filing a police report but aren't taken seriously. After some convincing, Lieutenant Fuller (John Saxon) starts investigating her disappearance, unaware that her body is in the attic. Fuller decides to tap the phone so he can find the source of the obscene calls and, potentially, the killer. As the body count rises, Jess discovers something horrific: the calls are coming from inside the house!

Review

While Halloween may have popularized the slasher film, Black Christmas arguably laid the groundwork that future slashers followed. There's the isolated yet relatable location, the shots from the killer's perspective, and the mysterious phone calls. Though the film might seem cliche to modern audiences, it's important to remember this movie established the cliches. While later slashers prioritized high body counts and overly gory deaths, this one aimed for psychological scares and foreboding dread. The film also benefits from humorous moments that add levity without destroying the overall tone. From a foul-mouthed Santa to the housemother finding her hidden booze, these scenes help balance the scares. The film is also progressive in portraying college students as real young people instead of an adult's idea of them. Instead of stereotypically bubbly bimbos, the sorority sisters feel like real people with real issues that audiences can relate to.

Olivia Hussey does an excellent job as Jess Bradford, playing her as the voice of reason while also showing vulnerability. Margot Kidder steals the show as the alcoholic floozy Barbara, whose drunken antics and vulgar tone make her endearing. Though mainly known for comedy, Andrea Martin shows she can deliver a tremendous dramatic performance as Phyllis. As always, John Saxon is excellent as the police lieutenant, while Douglas McGrath is fun as the gullible Sergeant Nash. Despite being an obvious red herring, Keir Dullea is also quite good as Jess' emotionally unstable boyfriend, Peter. Though unintentional, the film is weirdly progressive in its portrayal of women having agency and casual misogyny. For instance, there's a subplot about Jess wanting an abortion despite Peter having reservations and suggesting they get married. Even by today's standards, how the film tackles these issues is nothing short of groundbreaking.

While many elements were repeated in future slashers, a unique component—the killer's being a mystery — hasn't been replicated. Slashers like Halloween, Friday the 13th, and A Nightmare on Elm Street made icons of their killers with detailed backstories. Aside from some vague clues, we never conclusively learn who the killer is or their motivation. Some may complain about the lack of closure, but this element of mystery makes the film much more terrifying. Adding to this feeling of terror is the cinematography by Reginald Morris and the haunting score by Carl Zittrer. The movie is a slow burn, but at slightly over 90 minutes, it doesn't overstay its welcome. Even 50 years after its release, this film has an eerie presence that permeates throughout and leaves you feeling unnerved. Overall, Black Christmas is a true horror cult classic that holds up decades later.

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