Light years ahead, aesthetically and politically — a progressive exploration of abortion and sexual liberation’s complexities for young women gives it pith lacking in the countless imitators it spawned. Creepy diegetic sound cues, a threadbare docudrama approach, and a terrific central performance from Olivia Hussey. Had no idea Bob Clark also directed “A Christmas Story;” what a double feature that would be.
Bob Clark's ominous point-of-view shots from the killer's perspective and the stalker's disturbing phone calls, Carl Zittrer's creepy score, Margot Kidder's alcoholic sorority sister's sarcastic and vulgar sense of humor, Olivia Hussey's strong heroine who struggles with an abortion decision and who lets loose one of the craziest screams in horror history when the murderer grabs her long '70s hair.
Good ol' ashamed-of-itself-as-such Candian cinema, BLACK CHRISTMAS may contain one prominently placed American flag, but of course also features Margot Kidder cracking a can of Labatt 50 as well as sundry other stridently Canuckist signifiers. It shows off a kind of low-key raunchiness, no doubt pushing the envelope for its time, and masters a brand of elevated, delirious camp. Good, good times, perversely festive.
As far as pre-eighties horror films out there, I will gladly claim that, even by today's standards, Black Christmas can be utterly bone-chilling! Through the way the characters are written and acted, along with how the director constructs tension using some great POV shots for the killer (dramatic irony at its best), there's a truly unnerving sense of realness bursting from the picture.
Considéré souvent comme une œuvre fondatrice du slasher nord-américain, cette correcte réalisation qui sait distiller ses tensions et ses inquiétudes avec un certain savoir-faire de bon aloi, souffre pourtant d'un dénouement insipide, facile et bancale, laissant maints spectateurs penauds dans une relative insatisfaction finale... www.cinefiches.com
Nach 35 Minuten, die der Film braucht um Fahrt aufzunehmen, wird der Kult-Horror-Slasher richtig spannend und fesselnd. Nicht alle Aspekte und Szenen sind gut gealtert, hier und da hätte er blutiger ausfallen dürfen und er kann für mich auch nicht mit den (späteren) Größen des Genres mithalten, dennoch ist Black Christmas sowohl unterhaltsam als auch sehenswert und ist für Genrefans ein absolutes Muss! 7/10
Wins already, as the rare slasher film I can (mostly) shamelessly enjoy without flagrantly compromising all my values. Now that I'm so no longer willing to put in the work to rationalize away my cognitive dissonance at problematic (misogynistic etc) tropes being exploited on screen... The phone stacks & Ineffectual Cop stock gags are hilariously of the time. And Margot Kidder is a goddamn delight! 3.5
29/100 (Hakikaten korkunç bir film. 1) Evde yaşayıp kaybolan iki insan var. Gerekirse 30 cm'lik çekmeceleri açıp bakması gereken polisler çatı katını kontrol etmiyor hahahaha. Katil evi kamp olarak kullanıyor. 2) Evde katil olduğu için kaçması söylenen kız katilin üzerine tek başına gidiyor. 3) 10 km uzaklıktaki yurta kablo çekiliyor. 4) Bir çok ceset, şok yaşayan kız olan evden polisler 5 dk'da ayrılıyor... Komik.)
2-3. There's apparently a lot of debate over whether this, Psycho, or Texas Chainsaw was the start of the Slasher genre, but at least stylistically, I think I see more of the DNA of this one in the genre as it was in the 70s and onward than I do the other two, the killer phone calls, the floating killer POV cam, the killer mostly being offscreen, etc. A lot of Scream's DNA seems to come from it, surprisingly.