Like so many people, I thoroughly enjoyed John Carpenter’s “Halloween.” And like many fans of the film, I was under the impression that Carpenter’s film was the first of its kind — the very genesis of the “Slasher” film sub-genre.
It wasn’t until college that I learned about the film, “Black Christmas” through my pop-literature professor. As it so happened, Halloween was quickly approaching, and the professor decided to hold a lecture about “mastering the unseen.” Many examples of classic horror were cited for their effectiveness in implementing the “unseen” technique. By this, I mean of course the deliberate use of shadows, literal and metaphorical, to prevent the audience from seeing — or understanding — the horror stimulus too much. The theory was that if you, or the audience, were to fully behold the element driving the horror scenes, that they would in effect no longer ensnare you. In many ways, this can be directly applied to the common understanding of fear — that we fear what we do not understand.
Prompting a debate about the effective usage of these techniques and methods in film, our professor asked us to create a list of films we thought adhered to these principles. Naturally, I was quick to mention “Halloween” among others, and as we went around, the list on the board was fleshed out. After all was said and done, we had a substantial collection of films, but we were informed that there was one remaining film that we failed to mention, one that was the true forgotten master of the unseen. That film, we were told, was “Black Christmas.”
Having never heard of the film until that point, I was greatly enthralled by the possibility of watching the forgotten classic, and understanding further why it had gone overlooked by so many horror fans, for so long.
As it turned out, I had a great deal of trouble tracking down the film on DVD, as no copies had been released at that time — at least none that I could find through traditional means. It wasn’t until 2006 that I finally got my hands on the (then new) special edition of “Black Christmas” and I was able to see for myself first hand why this horror classic was so iconic, and revolutionary.
Predating all slasher films, “Black Christmas” essentially defined the sub-genre through the heavy usage of the subjective/P.O.V. camera, isolation narrative techniques, realistic scenarios, and grisly, disturbing — though never gratuitous or exploitative — murder sequences. Arguably, one of the most effect film techniques that was employed, and popularized by the film was indeed the killer’s P.O.V. camera. It’s hard to imagine now — since P.O.V. has been used in films to the point of viewer desensitization — but up until this film, the technique was used very sparingly, and never to such degree. Shot through an almost dizzying wide-angle lens, with an unsteady movement it effectively creates a bridge between the viewer and the killer, which succeeded in unsettling many people. Aside from this subjective view, we are given little else to associate with the killer. His identity remains a mystery, even after the film has concluded. Short of a few quick glimpses of legs, hands and silhouettes — and one very haunting image of the killer’s eye — the audience is given very little photographic evidence of what the killer looks like. This, combined with the aesthetic choices made by Clark, make this one of the greatest slasher/thrillers ever made — a veritable trendsetting film.
While “Black Christmas” might not have pioneered the down-beat, unresolved ending, it definitely popularized it, as is evidenced by the films that followed in its wake, recycling the formula.
What’s interesting to note is that Clark himself isn’t happy with being labeled the forefather of the “Slasher Film.” In his commentary, he informs that he’s always seen the film as more of a thriller than anything else, and that his goal was to show as little of the killer, and the death scenes as possible. As a result, we’re left with a film that succeeds in its aspirations to be a unique thriller, but also inadvertently ended up giving birth to an entire sub-genre through its fresh approach to a tired horror genre.
Also worthy of note is the fact that Clark was said to have been approached by Carpenter, and asked whether or not he planned to make a sequel to “Black Christmas.” Clark informed him that he had kicked the idea around but decided against it, but instead offered Carpenter a hypothetical storyline — had he gone through with it, it would have taken place the following Fall, picking up with the escape of the killer from a mental institution, and it would feature the title “Halloween.” Obviously, this idea struck Carpenter, and so the seed was planted for the 1978’s semi-spiritual-successor, “Halloween.”
If you haven’t seen “Black Christmas” you’re truly missing out. There’s a reason why this film has such a loyal and dedicated fan base. It is sad that it wasn’t released in time for Halloween — as it would have made a great addition to horror-movie-marathons the world over, but it will surely be available in time for the Christmas holiday, providing everyone with the chance to have a frightfully “Black (and Blu) Christmas.”
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