Black Christmas

Before 1978's HALLOWEEN became the definitive slasher film, 1974's BLACK CHRISTMAS rather quietly and effectively set a standard for lean and mean horror, doing everything this sort of movie should.  Namely, establishing such an enveloping atmosphere that the viewer, even while at home and subject to all manner of life's distractions, is thoroughly involved.  Stalked, even.  Director Bob Clark, who later oversaw another, very different Christmas movie, has such a handle on things that even while I was doing my usual nitpicks of low budget genre cliches I was still invested.  I imagine this movie must be quite something in a cold, dark theater with an appreciative audience. 

The tropes are all there: victimized coeds, a killer who apparently suffered a traumatic childhood, dumb cops, a vulgar, oversexed loudmouth, and jump out of the dark false alarms.  The storyline, which involves a sicko who terrorizes a sorority house during Christmas break, was probably old hat even during its original release.  But how Clark orchestrates is the thing, and his direction is so right on that his film has the energy of a particularly satisfying rock concert.  One well modulated.  Not at all like today's junky, hyperstimulated digital fests that feel the need to assault you every few minutes.  He builds suspense even as he weaves in some at times downright goofy humor, and for once that doesn't ruin the mood.

The sorority girls have been receiving really weird, obscene phone calls.  The caller changes his voice, as if attempting to be several different people, and unleases memorably vile torrents.  Barb (Margot Kidder), the oversexed one, enjoys taunting the pervert, much to the concern of her sisters Jess (Olivia Hussey), Clare (Lynn Griffith), and Phyl (Andrea Martin).  And, to a lesser extent, the house mother, Mrs. MacHenry (Marian Waldman), who has a bottle of whisky hiding in every cupboard and toilet tank.  

Soon enough, some of the girls turn up dead.  We never really get a look at the murderer, but we do know he has taken up residence in the attic of said house.  You've heard that story, too, I'll bet.

On the case is Lt. Fuller (John Saxon), who places a tap on the phone.  Besides the horror film moments, there is some real suspense as technicians race around trying to trace the origin of the calls. Then, that terrible moment of realization.......

The Toronto filmed BLACK CHRISTMAS uses real, lived in locations.  The coziness of the house is nicely infected with a sense of dread, aided by Reginald H. Morris skillful camera work.  I'm thinking in particular of one long zoom onto Jess from the staircase that is a terror classic unto itself.   I also loved Carl Zittrer's score.  The editing by Stan Cole is some of the best I've seen in an exploitation film - brilliant shot transitions.

Kidder is a lot of fun.  Hussey comes off a bit stiff but it seems appropriate for her character.  Keir Dullea plays her troubled boyfriend/murder suspect with the right intensity.  Saxon is always a joy to watch, as is this film, a real template for (then) modern horror.