BLACK CHRISTMAS

It's the eve of the Christmas holidays and a group of female students gather for drinks in their sorority house, before going home to their respective families.

From the start, the camera ominously lingers on an attic door, and then utilises a POV shot as someone climbs into the attic, then the house.

Oblivious to the intruder in their midst, the girls continue to party. Barbie (Margot Kidder) rules the roost with her acid tongue and sozzled brain, soon taking charge of the situation when their frivolities are cut short by an obscene telephone caller. She soon gets the better of him: "you fucking creep!".

Conversely, Jess (Olivia Hussey) is the quiet, studious one. She's dating intense pianist Peter (Kier Dullea) and has her own secret reason for holding back on the partying.

But then kooky Clare (Lynn Griffin) goes missing. The police and her parents are alerted, but no-one seems too clued-up on what to do next. Until their search uncovers the body of a murdered teenage girl nearby.

Who is it that is stalking the sorority house girls? Could it be creepy Peter? Goofy landlady Mrs Mac (Marian Waldman)? Assigned cop Fuller (John Saxon)? Chris (Art Hindle)?

That's just scratching the surface. There are plenty of potential suspects, from drunken beaus to conniving fillies, to mull over in this enjoyable 1974 chiller.

The trouble I'm having here is that it's difficult to find anything new to say about BLACK CHRISTMAS (see also William and Mikel's excellent observations in the Reviews archives on this site).

It's in common agreement that this film, more so than the likes of Bava's BAY OF BLOOD or BLOOD AND BLACK LACE, serves as the template for the American slasher craze of the late 70s and early 80s. Director Bob Clark is well known within horror circles, not only for helming this efficient thriller, but also for his work on CHILDREN SHOULDN'T PLAY WITH DEAD THINGS, DEATHDREAM and MURDER BY DECREE. And we all know of how Kidder shot to fame shortly after this film, winning the role of the similarly smart-arsed Lois Lane in Richard Donner's SUPERMAN: THE MOVIE.

Furthermore, just about everyone has seen this film and will be familiar with its savvy use of seasonal songs on the soundtrack, the wisecracking likeability of the sorority sisters and the masterful suspense created by Clark's handheld camerawork and uncanny ability to make us fear that which lurks in the shadows.

So I'll just reaffirm all of the above by saying it held up to another viewing on this rainy evening and, although I've seen it several times, I was yet again hooked after 15 minutes.

Unfussy, focused and indebted to Hitchcock in its balance of restrained thriller sequences and dark humour, BLACK CHRISTMAS remains a classic second-tier film of 1970s horror. It's only undone by some less than credible performances and a finale that can't hope to compete with the scares that punctuate the first 70 minutes.

Still, as a lesson in how to creep people out without resorting to gore, it stands the test of time as a good precursor to the superior HALLOWEEN.

Metrodome present the film uncut on this basic disc, in an anamorphic widescreen transfer.

The film looks okay, exhibiting nice colours and largely stable contrast throughout. The print is a little faded and a fair amount of specks are evident, particularly in earlier scenes. But, overall, it's a decent transfer considering this is a Canadian film from almost 40 years ago, that cost roughly the equivalent of £400,000 to shoot. Needless to say, the US blu-ray from Critical Mass looks superior.

English audio is presented in original mono and is serviceable without being noteworthy. It's a tad quiet but there is no background noise to worry about.

Static menus include a scene-selection menu allowing access to the main feature via 12 chapters.

The disc is defaulted to open with trailers for the director's cut blu-ray of DONNIE DARKO, CHERRY TREE LANE and THE HOUSE OF THE DEVIL. They are the only things here approaching "bonus features".

Great film, basic disc.

Review by Stu Willis