Filthy Billy: Why Black Christmas at 50 remains so relevant

As a woman who has spent countless nights huddled under the covers, my heart races every time I hear a phone ring or footsteps outside my door. The chilling tale of “Black Christmas” (1974) is not just another horror movie to me; it’s a haunting reminder of the fears that many women face in their daily lives.

Regardless of how many times I’ve seen the movie “Black Christmas”, it continues to give me chills. Although it has some dark humor that hints at the comedic films directed by Bob Clark, such as “Porky’s” and “A Christmas Story”, it remains a potent and haunting slasher film. Its impact was felt throughout the late 1970s and the slasher trend of the 1980s. Fifty years later, the themes in “Black Christmas” – particularly Jess’ (Olivia Hussey) storyline about her pregnancy and choosing to have an abortion, and the portrayal of masculine threats against a sorority of women – seem strikingly contemporary as we approach 2024.

Initially, the sorority house, intended as a refuge for its female occupants, was subjected to a string of menacing phone calls from a man named Billy, who later turned out to be a killer. Some of these calls were unclear and nonsensical, but their underlying intent was to instill fear and undermine the women’s feeling of security. In some of the initial calls, he made explicit threats to sexually assault the women, although the specific language used is too graphic for repetition here. The violence in his words stood out starkly against his other ramblings.

“Why don’t you go find a wall socket and stick your tongue in it? That’ll give you a charge.” While this statement might elicit laughter, it also conveys that these women are not easily pushed around. Furthermore, they exhibit greater strength and resilience when they stand together.

Instead, let’s rephrase this passage: Billy selectively removes some of them, including the alcoholic house mother Mrs. Mac (Marian Waldman). The killings commence with Clare (Lynne Griffin), whom Billy silently chokes and smothers using a plastic bag, then stores in an attic rocking chair throughout the movie. Clare’s death sets off many events in the storyline, leaving the sorority sisters worried as they believe she has disappeared. Their feeling of security is abruptly broken.

Among all the losses, Barb’s seems the most heart-wrenching. Apart from Jess, she is arguably the most robust in the group. Indeed, she receives a fair share of teasing from her sisters and matches Mrs. Mac drink for drink, but when it comes to standing up to Billy, she shines the brightest. Her phone conversations with him are so compelling that he even resorts to threatening her life.

As a gamer, it’s always hard-hitting when a character like Barb, who feels so misunderstood and isolated within the group, meets an untimely end, right around the halfway mark of the story. Each time I rewatch that scene, it hits me deep, knowing she was often seen as the black sheep, the one who spoke her mind most fiercely. It’s heart-wrenching to see her struggle not just with her sisters, but also within her own family. The fact that she spends her last moments alone in her room during Christmas, a time of family gatherings, only emphasizes her loneliness.

Black Christmas’ major influence on the slasher genre

It’s important to note that Black Christmas wasn’t the first slasher movie; that title actually belongs to Psycho and Peeping Tom, which were released in 1960. However, the use of killer’s point-of-view shots in Black Christmas significantly impacted John Carpenter’s Halloween, which came out four years later. If you watch the first ten minutes of both films, you’ll notice that they share a similarity: the camera places you in the killer’s perspective as he enters the house. This influence is quite obvious. Similarly to Michael Myers in Halloween, the killer in Black Christmas often remains partially hidden, lurking in shadows and making brief appearances. Despite being rarely seen fully, they both pose a constant threat.

As a gamer, I gotta say, the endings of Halloween and Black Christmas aren’t all that different. In both movies, the boogeymen manage to survive a beating. When old Dr. Loomis shoots Michael several times, he plummets from the second story and seemingly disappears. You can just hear the iconic Halloween theme playing, with shots of every spot where ol’ Mike had been in the flick, accompanied by the chilling sound of his breath. Spooky stuff!

At the end of “Black Christmas”, the police leave Jess by herself in the house to rest and recuperate. While the credits are playing, the phone rings once more. It becomes apparent that Billy is not deceased, thus leaving Jess’ survival uncertain. Clark declined to direct a follow-up to “Black Christmas”, but the movie nonetheless set the pattern that the villain isn’t necessarily killed off.

In both movies “Halloween” and “Black Christmas,” it’s evident that the authority figures are rather ineffective. This is true for characters like Mrs. Mac, but also the police in both films. In “Black Christmas,” they initially disregard the obscene phone calls and then leave Jess alone. On the other hand, in “Halloween,” they fail to prevent Michael Myers effectively, ignoring Dr. Loomis’ warnings initially, which ultimately leads to the death of his daughter Annie (Nancy Kyes). The sheriff of Haddonfield, Leigh Brackett (Charles Cyphers), also denies what Loomis tells him, a decision that results in Annie’s death. If he had taken action earlier, Michael could have been stopped. Similarly, in “Black Christmas,” the police should have heeded the women’s concerns about the calls sooner, which might have prevented Billy from causing harm.

Black Christmas and female autonomy and agency

Filthy Billy: Why Black Christmas at 50 remains so relevant

Clark’s groundbreaking role in “Children of the Corn” extended beyond just influencing slasher films; it was remarkably progressive for its era due to Jess’ character arc. Similar to Barb, Jess fiercely upholds her autonomy, which is most evident in her portrayal of an abortion decision. She confides in her boyfriend Peter (Keir Dullea) that she’s pregnant but intends to terminate the pregnancy. Upon hearing this, Peter, who aspires to be a concert pianist, becomes distraught and insists she carry the child. At one point, he threatens to leave school and marry her, suggesting she abandon her own ambitions too. However, Jess remains steadfast in her decision not to marry, intends to complete her education, and continues with her abortion plans.

In the movie, despite not being a murderer, Peter serves as the secondary adversary to Jess, posing a threat to her freedom and aspirations. His reaction to her decision is immature and unsettling at times. He labels her as selfish and grumbles about not being included in the abortion discussion. It’s no wonder that Clark uses Peter as a decoy for the real killer. At one instance, he destroys his piano and hangs around the sorority house. He certainly causes trouble.

Looking back fifty years, I still find “Black Christmas” incredibly impactful and pertinent. Clark and Roy Moore skillfully created well-rounded female characters like Jess and Barb who valiantly stand their ground against threats to what should be a secure sanctuary for women. In this post-Dobbs era, the movie seems alarmingly relatable.

I’m thrilled to share that the chilling horror classic, “Black Christmas”, is now accessible for free on platforms like Tubi and Crackle! If you prefer other services, it’s also available on Peacock, Shudder, and Amazon Prime Video. Enjoy the suspense!

2024-12-10 00:25

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