Black Christmas


1h 13m 1975
Black Christmas

Brief Synopsis

A deranged killer terrorizes the women staying in a sorority house over Christmas.

Film Details

Also Known As
Silent Night Evil Night, Silent Night Holy Night
MPAA Rating
R
Genre
Horror/Science-Fiction
Horror
Thriller
Release Date
1975
Location
Vancouver, British Columbia, Canada

Technical Specs

Duration
1h 13m
Sound
Mono
Color
Color (Technicolor)
Theatrical Aspect Ratio
1.37 : 1, 1.85 : 1

Synopsis

It's time for Christmas break, and the sorority sisters make plans for the holiday, but the strange anonymous phone calls are beginning to put them on edge. When Clare disappears, they contact the police, who don't express much concern. Meanwhile Jess is planning to get an abortion, but boyfriend Peter is very much against it. The police finally begin to get concerned when a 13-year-old girl is found dead in the park. They set up a wiretap to the sorority house, but will they be in time to prevent a sorority girl attrition problem?

Film Details

Also Known As
Silent Night Evil Night, Silent Night Holy Night
MPAA Rating
R
Genre
Horror/Science-Fiction
Horror
Thriller
Release Date
1975
Location
Vancouver, British Columbia, Canada

Technical Specs

Duration
1h 13m
Sound
Mono
Color
Color (Technicolor)
Theatrical Aspect Ratio
1.37 : 1, 1.85 : 1

Articles

The Gist (Black Christmas) - The Gist


Bob Clark's Black Christmas (1974) was not the first horror film to squeeze the cheery Yuletide for all its worth in latent menace. One of the vignettes comprising Ealing's postwar portmanteau Dead of Night (1945) concerns a ghostly child who crashes a Christmas party, while any film adaptation of Charles Dickens' A Christmas Carol (of which Brian Desmond Hurst's Scrooge [1951], starring Alastair Sim, is perhaps the most highly-regarded) is chockablock with shapes and shadows of the restless dead. Made in 1970 but unreleased until the spring of 1974, Theodore Gershuny's dour Silent Night, Bloody Night beat Black Christmas to the cinemas by several months, as did the Amicus anthology Tales from the Crypt (1972), which kicked off its spook syllabus with an expansion of the EC Comics classic "All Through the House," about the Christmas Eve siege of a private residence by an escaped maniac in a grubby Kris Kringle suit. Rather than send its resident lunatic after a lone female, Black Christmas puts an entire college sorority house in peril, winnowing down the number of potential victims to a surviving final girl...and in so doing stamping a template for the as yet unborn horror subgenre of slasher films.

The origin of Black Christmas can be traced back to a spec script written by Canadian Broadcast System staffers Roy Moore and Timothy Bond in the early 1970s. The Babysitter's concept of a deranged killer telephoning his psycho-sexual intentions to his intended victim riffed on the urban legend "The Baby-Sitter and the Man Upstairs," collected by folklorist Jan Harold Brunvand in his 1981 study The Vanishing Hitchhiker: American Urban Legends and Their Meanings. As the old chestnut goes, a young girl receives threatening phone calls while minding a neighbor's children; the sting in the tail has the local police tracing the calls to an upstairs room of the very house, a shock reveal that allows the protagonist to escape with her life. (In most variants of this tale, the children are not so lucky.) Producers Harvey Sherman and Richard Schouten had Bond rewrite The Babysitter for a university setting before showing it to their in-house director, Bob Clark. By the time the script got to the expatriate American, it had undergone a title change to Stop Me, recalling the written-in-lipstick imperatives of accused Illinois serial killer William Heirens, the inspiration for Fritz Lang's While the City Sleeps (1956).

While Black Christmas has an estimable body count, viewers remember it being more violent than it really is. Very little blood is spilled onscreen (Clark reworked the script, credited solely to Roy Moore, making the killings less explicit) and the most acute frissons are aural rather than visual. Taking a tip from William Friedkin's The Exorcist (1973), Clark gives Black Christmas a harrowing soundscape, blending the voices of multiple actors (one of them a then-unknown Nick Mancuso, later the star of Columbia's Nightwing [1979]) to achieve the disturbing patter of "the Moaner," as the residents of Pi Kappa Sig refer to their resident (and how!) obscene phone caller. Clark had some ambitious casting ideas for Black Christmas: although Bette Davis proved to be out of his price range for a bit as the sorority's tipsy den mother and Gilda Radner quit the production to become a Not Ready for Prime Time Player for SNL (her role was given to Second City trouper Andrea Martin), Olivia Hussey, star of Franco Zeffirelli's Romero and Juliet (1968) agreed to play Clark's Final Girl. Clark's principal players also included 2001: A Space Odyssey's (1968) Keir Dullea and Margot Kidder just a few years shy of her crossover success as the leading lady of Richard Donner's Superman (1978) and Stuart Rosenberg's The Amityville Horror (1979).

In America, Black Christmas underwent a ruinous title change (the distributors feared the word "black" would lump the film into the "blaxploitation" ghetto) to Silent Night, Evil Night and tanked at the box office. (On American TV, the film was called Stranger in the House.) Re-released as Black Christmas, Clark's tidy little shocker found its audience, among whose number was rising filmmaker John Carpenter. Carpenter approached Clark about the possibility of writing a sequel, to which Clark proved amenable. Clark's imagined follow-up took place on the grounds of the same college campus, in the autumn of the following school year; his proposed title for the stillborn project was to be Halloween. John Carpenter went on, of course, to great success on his own with his 1978 film of the same name (based on an original script titled The Babysitter Murders), which effectively launched the cycle of slasher films to which Black Christmas is an undisputed patron saint.

Director: Bob Clark
Writer: Roy Moore
Producers: Bob Clark, Gerry Arbeid, Findlay Quinn, Richard Schouten
Photography: Reginald H. Morris
Editor: Stan Cole
Music: Carl Zittrer
Art Director: Karen Bromley
Cast: Olivia Hussey (Jess), Keir Dullea (Peter), Margot Kidder (Barb), John Saxon (Lt. Fuller), Marian Waldman (Mrs. Mac), Andrea Martin (Phyl), James Edmond (Mr. Harrison), Doug McGrath (Sgt. Nash), Art Hindle (Chris), Lynn Griffin (Clare), Leslie Carlson (Graham), Nick Mancuso, Bob Clark (Phone Voice).
C-98m.

by Richard Harland Smith

The Gist (Black Christmas) - The Gist

The Gist (Black Christmas) - The Gist

Bob Clark's Black Christmas (1974) was not the first horror film to squeeze the cheery Yuletide for all its worth in latent menace. One of the vignettes comprising Ealing's postwar portmanteau Dead of Night (1945) concerns a ghostly child who crashes a Christmas party, while any film adaptation of Charles Dickens' A Christmas Carol (of which Brian Desmond Hurst's Scrooge [1951], starring Alastair Sim, is perhaps the most highly-regarded) is chockablock with shapes and shadows of the restless dead. Made in 1970 but unreleased until the spring of 1974, Theodore Gershuny's dour Silent Night, Bloody Night beat Black Christmas to the cinemas by several months, as did the Amicus anthology Tales from the Crypt (1972), which kicked off its spook syllabus with an expansion of the EC Comics classic "All Through the House," about the Christmas Eve siege of a private residence by an escaped maniac in a grubby Kris Kringle suit. Rather than send its resident lunatic after a lone female, Black Christmas puts an entire college sorority house in peril, winnowing down the number of potential victims to a surviving final girl...and in so doing stamping a template for the as yet unborn horror subgenre of slasher films. The origin of Black Christmas can be traced back to a spec script written by Canadian Broadcast System staffers Roy Moore and Timothy Bond in the early 1970s. The Babysitter's concept of a deranged killer telephoning his psycho-sexual intentions to his intended victim riffed on the urban legend "The Baby-Sitter and the Man Upstairs," collected by folklorist Jan Harold Brunvand in his 1981 study The Vanishing Hitchhiker: American Urban Legends and Their Meanings. As the old chestnut goes, a young girl receives threatening phone calls while minding a neighbor's children; the sting in the tail has the local police tracing the calls to an upstairs room of the very house, a shock reveal that allows the protagonist to escape with her life. (In most variants of this tale, the children are not so lucky.) Producers Harvey Sherman and Richard Schouten had Bond rewrite The Babysitter for a university setting before showing it to their in-house director, Bob Clark. By the time the script got to the expatriate American, it had undergone a title change to Stop Me, recalling the written-in-lipstick imperatives of accused Illinois serial killer William Heirens, the inspiration for Fritz Lang's While the City Sleeps (1956). While Black Christmas has an estimable body count, viewers remember it being more violent than it really is. Very little blood is spilled onscreen (Clark reworked the script, credited solely to Roy Moore, making the killings less explicit) and the most acute frissons are aural rather than visual. Taking a tip from William Friedkin's The Exorcist (1973), Clark gives Black Christmas a harrowing soundscape, blending the voices of multiple actors (one of them a then-unknown Nick Mancuso, later the star of Columbia's Nightwing [1979]) to achieve the disturbing patter of "the Moaner," as the residents of Pi Kappa Sig refer to their resident (and how!) obscene phone caller. Clark had some ambitious casting ideas for Black Christmas: although Bette Davis proved to be out of his price range for a bit as the sorority's tipsy den mother and Gilda Radner quit the production to become a Not Ready for Prime Time Player for SNL (her role was given to Second City trouper Andrea Martin), Olivia Hussey, star of Franco Zeffirelli's Romero and Juliet (1968) agreed to play Clark's Final Girl. Clark's principal players also included 2001: A Space Odyssey's (1968) Keir Dullea and Margot Kidder just a few years shy of her crossover success as the leading lady of Richard Donner's Superman (1978) and Stuart Rosenberg's The Amityville Horror (1979). In America, Black Christmas underwent a ruinous title change (the distributors feared the word "black" would lump the film into the "blaxploitation" ghetto) to Silent Night, Evil Night and tanked at the box office. (On American TV, the film was called Stranger in the House.) Re-released as Black Christmas, Clark's tidy little shocker found its audience, among whose number was rising filmmaker John Carpenter. Carpenter approached Clark about the possibility of writing a sequel, to which Clark proved amenable. Clark's imagined follow-up took place on the grounds of the same college campus, in the autumn of the following school year; his proposed title for the stillborn project was to be Halloween. John Carpenter went on, of course, to great success on his own with his 1978 film of the same name (based on an original script titled The Babysitter Murders), which effectively launched the cycle of slasher films to which Black Christmas is an undisputed patron saint. Director: Bob Clark Writer: Roy Moore Producers: Bob Clark, Gerry Arbeid, Findlay Quinn, Richard Schouten Photography: Reginald H. Morris Editor: Stan Cole Music: Carl Zittrer Art Director: Karen Bromley Cast: Olivia Hussey (Jess), Keir Dullea (Peter), Margot Kidder (Barb), John Saxon (Lt. Fuller), Marian Waldman (Mrs. Mac), Andrea Martin (Phyl), James Edmond (Mr. Harrison), Doug McGrath (Sgt. Nash), Art Hindle (Chris), Lynn Griffin (Clare), Leslie Carlson (Graham), Nick Mancuso, Bob Clark (Phone Voice). C-98m. by Richard Harland Smith

Black Christmas (1974)


Bob Clark's Black Christmas (1974) was not the first horror film to squeeze the cheery Yuletide for all its worth in latent menace. One of the vignettes comprising Ealing's postwar portmanteau Dead of Night (1945) concerns a ghostly child who crashes a Christmas party, while any film adaptation of Charles Dickens' A Christmas Carol (of which Brian Desmond Hurst's Scrooge [1951], starring Alastair Sim, is perhaps the most highly-regarded) is chockablock with shapes and shadows of the restless dead. Made in 1970 but unreleased until the spring of 1974, Theodore Gershuny's dour Silent Night, Bloody Night beat Black Christmas to the cinemas by several months, as did the Amicus anthology Tales from the Crypt (1972), which kicked off its spook syllabus with an expansion of the EC Comics classic "All Through the House," about the Christmas Eve siege of a private residence by an escaped maniac in a grubby Kris Kringle suit. Rather than send its resident lunatic after a lone female, Black Christmas puts an entire college sorority house in peril, winnowing down the number of potential victims to a surviving final girl...and in so doing stamping a template for the as yet unborn horror subgenre of slasher films.

The origin of Black Christmas can be traced back to a spec script written by Canadian Broadcast System staffers Roy Moore and Timothy Bond in the early 1970s. The Babysitter's concept of a deranged killer telephoning his psycho-sexual intentions to his intended victim riffed on the urban legend "The Baby-Sitter and the Man Upstairs," collected by folklorist Jan Harold Brunvand in his 1981 study The Vanishing Hitchhiker: American Urban Legends and Their Meanings. As the old chestnut goes, a young girl receives threatening phone calls while minding a neighbor's children; the sting in the tail has the local police tracing the calls to an upstairs room of the very house, a shock reveal that allows the protagonist to escape with her life. (In most variants of this tale, the children are not so lucky.) Producers Harvey Sherman and Richard Schouten had Bond rewrite The Babysitter for a university setting before showing it to their in-house director, Bob Clark. By the time the script got to the expatriate American, it had undergone a title change to Stop Me, recalling the written-in-lipstick imperatives of accused Illinois serial killer William Heirens, the inspiration for Fritz Lang's While the City Sleeps (1956).

While Black Christmas has an estimable body count, viewers remember it being more violent than it really is. Very little blood is spilled onscreen (Clark reworked the script, credited solely to Roy Moore, making the killings less explicit) and the most acute frissons are aural rather than visual. Taking a tip from William Friedkin's The Exorcist (1973), Clark gives Black Christmas a harrowing soundscape, blending the voices of multiple actors (one of them a then-unknown Nick Mancuso, later the star of Columbia's Nightwing [1979]) to achieve the disturbing patter of "the Moaner," as the residents of Pi Kappa Sig refer to their resident (and how!) obscene phone caller. Clark had some ambitious casting ideas for Black Christmas: although Bette Davis proved to be out of his price range for a bit as the sorority's tipsy den mother and Gilda Radner quit the production to become a Not Ready for Prime Time Player for SNL (her role was given to Second City trouper Andrea Martin), Olivia Hussey, star of Franco Zeffirelli's Romero and Juliet (1968) agreed to play Clark's Final Girl. Clark's principal players also included 2001: A Space Odyssey's (1968) Keir Dullea and Margot Kidder just a few years shy of her crossover success as the leading lady of Richard Donner's Superman (1978) and Stuart Rosenberg's The Amityville Horror (1979).

In America, Black Christmas underwent a ruinous title change (the distributors feared the word "black" would lump the film into the "blaxploitation" ghetto) to Silent Night, Evil Night and tanked at the box office. (On American TV, the film was called Stranger in the House.) Re-released as Black Christmas, Clark's tidy little shocker found its audience, among whose number was rising filmmaker John Carpenter. Carpenter approached Clark about the possibility of writing a sequel, to which Clark proved amenable. Clark's imagined follow-up took place on the grounds of the same college campus, in the autumn of the following school year; his proposed title for the stillborn project was to be Halloween. John Carpenter went on, of course, to great success on his own with his 1978 film of the same name (based on an original script titled The Babysitter Murders), which effectively launched the cycle of slasher films to which Black Christmas is an undisputed patron saint.

Director: Bob Clark
Writer: Roy Moore
Producers: Bob Clark, Gerry Arbeid, Findlay Quinn, Richard Schouten
Photography: Reginald H. Morris
Editor: Stan Cole
Music: Carl Zittrer
Art Director: Karen Bromley
Cast: Olivia Hussey (Jess), Keir Dullea (Peter), Margot Kidder (Barb), John Saxon (Lt. Fuller), Marian Waldman (Mrs. Mac), Andrea Martin (Phyl), James Edmond (Mr. Harrison), Doug McGrath (Sgt. Nash), Art Hindle (Chris), Lynn Griffin (Clare), Leslie Carlson (Graham), Nick Mancuso, Bob Clark (Phone Voice).
C-98m.

by Richard Harland Smith

Black Christmas (1974)

Bob Clark's Black Christmas (1974) was not the first horror film to squeeze the cheery Yuletide for all its worth in latent menace. One of the vignettes comprising Ealing's postwar portmanteau Dead of Night (1945) concerns a ghostly child who crashes a Christmas party, while any film adaptation of Charles Dickens' A Christmas Carol (of which Brian Desmond Hurst's Scrooge [1951], starring Alastair Sim, is perhaps the most highly-regarded) is chockablock with shapes and shadows of the restless dead. Made in 1970 but unreleased until the spring of 1974, Theodore Gershuny's dour Silent Night, Bloody Night beat Black Christmas to the cinemas by several months, as did the Amicus anthology Tales from the Crypt (1972), which kicked off its spook syllabus with an expansion of the EC Comics classic "All Through the House," about the Christmas Eve siege of a private residence by an escaped maniac in a grubby Kris Kringle suit. Rather than send its resident lunatic after a lone female, Black Christmas puts an entire college sorority house in peril, winnowing down the number of potential victims to a surviving final girl...and in so doing stamping a template for the as yet unborn horror subgenre of slasher films. The origin of Black Christmas can be traced back to a spec script written by Canadian Broadcast System staffers Roy Moore and Timothy Bond in the early 1970s. The Babysitter's concept of a deranged killer telephoning his psycho-sexual intentions to his intended victim riffed on the urban legend "The Baby-Sitter and the Man Upstairs," collected by folklorist Jan Harold Brunvand in his 1981 study The Vanishing Hitchhiker: American Urban Legends and Their Meanings. As the old chestnut goes, a young girl receives threatening phone calls while minding a neighbor's children; the sting in the tail has the local police tracing the calls to an upstairs room of the very house, a shock reveal that allows the protagonist to escape with her life. (In most variants of this tale, the children are not so lucky.) Producers Harvey Sherman and Richard Schouten had Bond rewrite The Babysitter for a university setting before showing it to their in-house director, Bob Clark. By the time the script got to the expatriate American, it had undergone a title change to Stop Me, recalling the written-in-lipstick imperatives of accused Illinois serial killer William Heirens, the inspiration for Fritz Lang's While the City Sleeps (1956). While Black Christmas has an estimable body count, viewers remember it being more violent than it really is. Very little blood is spilled onscreen (Clark reworked the script, credited solely to Roy Moore, making the killings less explicit) and the most acute frissons are aural rather than visual. Taking a tip from William Friedkin's The Exorcist (1973), Clark gives Black Christmas a harrowing soundscape, blending the voices of multiple actors (one of them a then-unknown Nick Mancuso, later the star of Columbia's Nightwing [1979]) to achieve the disturbing patter of "the Moaner," as the residents of Pi Kappa Sig refer to their resident (and how!) obscene phone caller. Clark had some ambitious casting ideas for Black Christmas: although Bette Davis proved to be out of his price range for a bit as the sorority's tipsy den mother and Gilda Radner quit the production to become a Not Ready for Prime Time Player for SNL (her role was given to Second City trouper Andrea Martin), Olivia Hussey, star of Franco Zeffirelli's Romero and Juliet (1968) agreed to play Clark's Final Girl. Clark's principal players also included 2001: A Space Odyssey's (1968) Keir Dullea and Margot Kidder just a few years shy of her crossover success as the leading lady of Richard Donner's Superman (1978) and Stuart Rosenberg's The Amityville Horror (1979). In America, Black Christmas underwent a ruinous title change (the distributors feared the word "black" would lump the film into the "blaxploitation" ghetto) to Silent Night, Evil Night and tanked at the box office. (On American TV, the film was called Stranger in the House.) Re-released as Black Christmas, Clark's tidy little shocker found its audience, among whose number was rising filmmaker John Carpenter. Carpenter approached Clark about the possibility of writing a sequel, to which Clark proved amenable. Clark's imagined follow-up took place on the grounds of the same college campus, in the autumn of the following school year; his proposed title for the stillborn project was to be Halloween. John Carpenter went on, of course, to great success on his own with his 1978 film of the same name (based on an original script titled The Babysitter Murders), which effectively launched the cycle of slasher films to which Black Christmas is an undisputed patron saint. Director: Bob Clark Writer: Roy Moore Producers: Bob Clark, Gerry Arbeid, Findlay Quinn, Richard Schouten Photography: Reginald H. Morris Editor: Stan Cole Music: Carl Zittrer Art Director: Karen Bromley Cast: Olivia Hussey (Jess), Keir Dullea (Peter), Margot Kidder (Barb), John Saxon (Lt. Fuller), Marian Waldman (Mrs. Mac), Andrea Martin (Phyl), James Edmond (Mr. Harrison), Doug McGrath (Sgt. Nash), Art Hindle (Chris), Lynn Griffin (Clare), Leslie Carlson (Graham), Nick Mancuso, Bob Clark (Phone Voice). C-98m. by Richard Harland Smith

Quotes

These broads could hump the Leaning Tower of Pisa if they could get to the top of it!
- Mrs. MacHenry
Sergeant Nash what's this?
- Lieutenant Kennet Fuller
That's the address to the sorority house.
- Sergeant Nash
Felatio?
- Lieutenant Kennet Fuller
Yes, Felatio the New exchange address for the house.
- Sergeant Nash
Sergeant Nash, I don't think you could pick your noise never the less take down an address.
- Lieutenant Kennet Fuller
I know, the address is something dirty isn't it?
- Sergeant Nash
I'm a drunk? Here we have the queen of vodka herself!
- Barb Coard
Did you know that there is a certain species of turtle that can screw for three days straight? I didn't know, you're probably asking yourself that can't be true but it is, because I went down to the zoo and I watched them do it. It was very very boring. I still can't believe they can screw for three days, I mean I'm lucky if I even get three minutes. So after I saw those turtles screwing, I said that is what I call remature ejaculation!
- Barb Coard
Filthy Billy, I know what you did nasty Billy!
- The Killer

Trivia

Keir Dullea worked only for a week on this film, never meeting Margot Kidder and barely meeting John Saxon, but the film is edited in such a way that he appears to be present throughout.

At the police station Nash says "6 Belmont Street" for the address of the sorority when on the phone with Jess. That was the address of the house that the crew filmed the movie in.

The role of Mrs. Mac was offered to Bette Davis

The role of Peter was originally offered to Malcolm McDowell, but he turned it down.

The role of Lieutenant Fuller was originally supposed to be played by _Edmond O'Brien_ (QV), but due to failing health he had to be replaced. _John Saxon_ (QV) was brought in at the last minute.

Miscellaneous Notes

Released in United States Winter January 1, 1975

Remake of "Black Christmas" (USA/1974) directed by Bob Clark starring Olivia Hussey, Keir Dullea, and Margot Kidder.

Released in United States Winter January 1, 1975