See how the cult classic Black Christmas hits the Save the Cat! story beats.
Black Christmas (1974) stands out as a pioneering work in the slasher genre. It introduced unique elements such as the subjective “killer’s POV,” anonymous phone calls, and the concept of a killer stalking young women in a domestic setting. These elements, along with its eerie atmosphere and psychological tension, set it apart and paved the way for future horror staples.
Originally titled “Stop Me,” the screenplay was profoundly influenced by urban legends, particularly “The Babysitter and the Man Upstairs,” a chilling tale that had gained popularity in the 1970s. This urban legend, which revolved around a babysitter receiving mysterious phone calls from inside the house, became a central twist in Black Christmas. Clark’s incorporation of dark humor and realism into the script also made the college students more relatable and grounded, a departure from the stereotypical depictions in American horror films of the time.
Bob Clark, who would later direct the holiday classic A Christmas Story (1983), showcased his versatility by creating two vastly different Christmas films, one a lighthearted family comedy and the other a pioneering work in horror. With its suspenseful atmosphere, shocking kills, and psychological depth, Black Christmas has earned its place as a cult classic that continues to inspire filmmakers today. It spawned two remakes—one in 2006 and the second in 2019. Now, let’s check out those killer beats!
Written by: Roy Moore
Directed by: Bob Clark
Genre: Monster in the House (Serial Monster)
Cinematic Cousins: Silent Night, Deadly Night; Psycho; Bay of Blood; The Texas Chainsaw Massacre; Halloween; Friday the 13th; My Bloody Valentine; Happy Birthday to Me; When A Stranger Calls; The Eyes of Laura Mars; Prom Night; Scream
Opening Image: The sorority house is featured, shrouded in darkness, with only faint Christmas lights illuminating the eerie silence. A haunting rendition of “Silent Night” plays, setting a somber tone.
Theme Stated: The sin that drives the story revolves around Jess and her decision to have an abortion, which conflicts with her controlling and erratic boyfriend, Peter. The theme of autonomy over one’s body versus control is subtly introduced, setting the stage for the story’s deeper psychological conflict.
Set-Up: The Prowler, seen through a handheld, subjective POV, walks up to the Pi Kappa Sigma sorority house, climbs the trellis, and enters. We meet Jess (Olivia Hussey) and the sorority girls Barb (Margot Kidder), Phil (Andrea Martin), and Claire (Lynne Griffin). The girls receive a disturbing phone call from the killer, who Barb antagonizes.
Jess later reveals her pregnancy to Peter (Keir Dullea), who wants her to keep the baby, setting up his emotionally unstable behavior and making him a suspect later.
Catalyst: Claire is attacked by the Prowler and smothered in her room with a plastic bag. Her body is taken to the attic and hidden by the killer, who plays with her corpse. This escalates the danger and moves the plot into its central conflict.
Debate: Jess wrestles with her relationship as Peter becomes increasingly erratic. Her autonomy is challenged as Peter pushes for marriage and demands she keep the baby. Meanwhile, Claire’s father (James Edmond) arrives the following day to pick her up, but she’s missing. The group and Mrs. Mac (Marian Waldman) begin searching for her.
Break into Two: The sorority girls file a police report with Sergeant Nash (Doug McGrath), while Jess’s relationship with Peter deteriorates further. Peter’s obsession with Jess’s pregnancy and his erratic behavior put him on the police’s radar as a potential suspect.
B Story: The B Story revolves around Jess and Peter’s relationship. Peter’s increasingly possessive behavior and explosive reaction to Jess’s decision deepen the emotional conflict, as he becomes a prime suspect.
Fun and Games: The Prowler continues to strike. Meanwhile, Mrs. Mac discovers Claire’s body in the attic before the Prowler kills her with a crane hook. The community launches a search party led by Claire’s boyfriend, Chris (Art Hindle), but tension rises as no leads surface, and the sorority house becomes increasingly isolated.
Midpoint: Jess receives another disturbing phone call in which the Prowler eerily mimics Peter’s words, making Peter the prime suspect and tying the A and B Stories together. Lieutenant Fuller (John Saxon) intensifies the investigation, starting the ticking clock, and Jess’s doubts about Peter cloud her judgment, raising the stakes.
Bad Guys Close In: Peter threatens Jess, telling her she’ll regret getting the abortion. The police tap the phone and monitor the house, but the murderous Prowler remains elusive. Barb is savagely slain with a crystal unicorn horn while Christmas carolers sing outside, her cries drowned out by their songs.
All Is Lost: Barb’s death shakes the sorority, and Jess’s emotional turmoil over Peter’s controlling nature hits a peak. The killer’s phone calls, which include personal details about Jess and Peter’s relationship, leave Jess unsure if Peter is the genuine threat.
Dark Night of the Soul: Jess wonders if Peter is the killer, but her guilt and fear over her decision to abort make it even harder for her to trust her instincts. The police’s failed attempt to trace the call leaves Jess alone with her doubts.
Break into Three: The big twist is that the calls come from inside the house, confirming Jess’s genuine physical danger. However, Peter’s behavior still leaves some doubt about whether he is the killer.
Five-Point Finale:
1. Gathering the Team: Jess is left alone in the house after everyone has been slain. At this point, the “team” she’s gathered includes the police, who have tapped the phone and are monitoring her calls. They instruct her to leave the house when they trace the calls from inside, but ultimately, Jess is alone when she decides to confront the situation.
2. Executing the Plan: Jess’s plan, once the police warn her that the killer is inside the house, is to try and save her sorority sisters (Barb and Phil) by going upstairs to check on them. Unfortunately, by this point, they’d already been murdered, and the Prowler posed their corpses. After discovering their bloody bodies, Jess grabs a fire poker and prepares to face the killer herself.
3. High Tower Surprise: The shock occurs when Jess is confronted by the Prowler, who chases her through the house. The suspense peaks when she hides in the basement, only for Peter to break in. At this moment, the audience and Jess believe that Peter might be the killer due to his erratic behavior throughout the film.
4. Dig Deep Down: Jess must summon her inner strength in this moment of panic. Unsure of whether Peter is a threat, her survival instinct kicks in, and she beats him to death with the fire poker. The tension here revolves around whether Jess has made the right decision—or if she’s just killed an innocent man.
5. Executing the New Plan: After Jess kills Peter, the police arrive and find their officer who was staking out the house with his throat slashed, and they assume that Peter is the murderer. Jess is sedated and left alone in the house to rest. Undoubtedly, when she awakens, she will live in terror and trauma for the rest of her life.
Final Image: Bookending the opening, the phone rings again as the camera slowly pulls away from the sorority house, with the implication that the natural killer is still at large in the attic.
