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Unwrap the yule­tide thrills of this con­tro­ver­sial San­ta slasher

09 Nov 2020

Words by Anton Bitel

Santa Claus figure in a festive grotto, surrounded by Christmas decorations and toys.
Santa Claus figure in a festive grotto, surrounded by Christmas decorations and toys.
The orig­i­nal the­atri­cal cut of Charles E Sel­l­i­er Jr’s Silent Night, Dead­ly Night is now avail­able on Blu-ray.

Every­thing he’s been doing has a kind of log­ic to it – once you under­stand what he’s gone through.” So says Sis­ter Mar­garet (Gilmer McCormick) of her for­mer ward Bil­ly Chap­man (Robert Bri­an Wil­son), who, towards the end of Charles E Sel­l­i­er Jr’s Silent Night, Dead­ly Night, has embarked on a crazed killing spree while dressed as San­ta Claus. The con­cerned nun is absolute­ly right.

For while Sellier’s debut fea­ture is cer­tain­ly a slash­er, its cen­tral killer is much clos­er to the antag­o­nists of Joseph Ellison’s Don’t Go in the House, William Lustig’s Mani­ac and espe­cial­ly Lewis Jackson’s Christ­mas Evil – fleshed-out indi­vid­u­als whose care­ful­ly detailed his­to­ries of psy­cho­log­i­cal dam­age can be traced back to Alfred Hitchcock’s ur-slash­er Psy­cho – than to the heavy-breath­ing masked cyphers who pop­u­lat­ed the Hal­loween and Fri­day the 13th franchises.

Bil­ly may even­tu­al­ly be reduced to a slash-hap­py mur­der­er con­ceal­ing his iden­ti­ty behind a white beard and red suit, even as the pant­i­ng and wheez­ing that typ­i­cal­ly her­ald a slasher’s advent are here replaced with a tin­kling bell and man­ic cries of Pun­ish!” and Naughty!”, but much of the film is focused on the mak­ing of this mur­der­er, as a series of har­row­ing scenes trace a nice lit­tle boy’s dri­ven jour­ney towards a very messed-up adulthood.

The film opens on Christ­mas Eve, 1971, as five-year-old Bil­ly (Jonathan Best), who would like noth­ing more than to be home wait­ing for Santa’s arrival down the chim­ney, is instead being dragged with his infant broth­er Ricky on the long dri­ve to vis­it their grand­fa­ther (Will Hare) at the Utah Men­tal Facil­i­ty. Grand­pa deliv­ers a clas­sic Old Man’s Warn­ing™ to Bil­ly about Christ­mas Eve being the scari­est damned night of the year” because it is when San­ta pun­ish­es the naughty. You see San­ta Claus tonight, you bet­ter run boy! You bet­ter run for your life!”, Grand­pa cackles.

It is a weird­ly overde­ter­mined scene: we know that Grand­pa is men­tal­ly ill; and the fact that only Bil­ly hears this sup­pos­ed­ly cata­ton­ic patient might be regard­ed as a hint that mad­ness may run in the fam­i­ly (and skip a gen­er­a­tion). Yet as it hap­pens, Grandpa’s warn­ing, whether real or mere­ly imag­ined, will quick­ly prove true. For on the dri­ve back, an armed crim­i­nal dressed as San­ta will shoot Billy’s dad dead, and then cut his mother’s throat after attempt­ing to rape her, all before the ter­ri­fied Billy’s eyes.

Three years lat­er, in 1974, eight-year-old Bil­ly (Dan­ny Wag­n­er) is in Saint Mary’s Home for Orphaned Chil­dren with his broth­er Ricky. Where Sis­ter Mar­garet can see the trau­ma with which dis­turbed Bil­ly is still liv­ing – a night­mare of con­fu­sion and anx­i­ety that only inten­si­fies around Christ­mas each year – the Moth­er Supe­ri­or (Lilyan Chau­vin) believes that Billy’s prob­lems can be resolved with harsh pun­ish­ment and dis­ci­pline. At the Orphan­age, Bil­ly has a clas­sic Freudi­an pri­mal scene’ – watch­ing through a key­hole as a cou­ple has sex, and then see­ing the Moth­er Supe­ri­or phys­i­cal­ly pun­ish them for their trans­gres­sion with her belt, and him for watching.

Pun­ish­ment is absolute, pun­ish­ment is nec­es­sary, pun­ish­ment is good,” she explains to Bil­ly before beat­ing him – and she beats him again after he reacts adverse­ly to being forced to sit on a vis­it­ing Santa’s lap. Where Bil­ly obvi­ous­ly needs help, all he gets is the rod, while being indoc­tri­nat­ed into an uncom­pro­mis­ing­ly harsh world­view of sin and retribution.

Young person in a dimly lit room, surrounded by Christmas decorations, looking contemplative.

Cut to 1984, and Sis­ter Mar­garet secures a job for the now adult Bil­ly work­ing in the stock­room of Mr Sim’s toy store. Bil­ly is a gen­tle giant – a mus­cle-bound, fresh-faced, hard-work­ing, cour­te­ous, clean-liv­ing tee­to­taller – and fits in well in his new envi­ron­ment. But come Christ­mas Eve, when he is pres­sured both to drink spir­its and to don the store’s San­ta cos­tume, and when he wit­ness­es one of his col­leagues attempt­ing drunk­en­ly to rape anoth­er in the back­room, some­thing inside him cracks, and the killing begins. At first he tar­gets his work­mates, and then ran­dom strangers, before final­ly head­ing back to the Orphan­age and a con­fronta­tion with the Moth­er Superior.

Billy’s descent into mad­ness is just that: a slow decline whose sev­er­al stages we are shown, so that he is a slash­er whom, as Sis­ter Mar­garet sug­gests, we can under­stand, and even with whom we can sym­pa­thise. He is both an ill-fat­ed vic­tim and a tick­ing time bomb, and if his even­tu­al explo­sion deliv­ers all the by-num­bers cat and mouse and mul­ti­tool culling that is expect­ed of the slash­er sub­genre, it is his per­son­al psy­chodra­ma which keeps us engaged with what is as much a human tragedy as a suc­ces­sion of sen­sa­tion­al thrills.

When ads for Silent Night, Dead­ly Night were shown on Amer­i­can prime-time tele­vi­sion, par­ents com­plained to the TV net­works and the film’s dis­trib­u­tor TriS­tar Pic­tures that its imagery was mak­ing their chil­dren ter­ri­fied of San­ta Claus. Soon there were protests (and car­ol singing) out­side the­atres, with crit­ics who dis­liked the film hap­pi­ly adding to the moral out­rage. All this led to the ads being pulled six days after the film’s mid-Novem­ber release, and the film itself being with­drawn from cin­e­mas short­ly afterwards.

It is one of those strange ironies of life reflect­ing art. If par­ents were con­cerned by the neg­a­tive impact that the film might have on their children’s per­cep­tion of Christ­mas, the film itself is pre­oc­cu­pied pre­cise­ly with this issue. Not only do we wit­ness Billy’s ini­tial love of San­ta Claus being soured and per­vert­ed by awful cir­cum­stance, but we also see him, in his San­ta guise, trans­mit­ting that same fear to an alarmed lit­tle girl on his lap, while in anoth­er scene, a young boy is for­ev­er dis­il­lu­sioned of his belief in San­ta when police burst into his bed­room with guns drawn, forc­ing the San­ta who has just climbed in the win­dow to reveal that he is in fact the boy’s father.

As both the old man who likes lit­tle chil­dren to sit on his knee, and as the myth­ic fig­ure who divides young boys and girls into sim­plis­tic cat­e­gories of naughty’ and nice’, Saint Nick has always come with an iconog­ra­phy that is at best dou­ble-edged, while his con­nec­tion to cyn­i­cal com­merce has nev­er been in doubt. Silent Night, Dead­ly Night plays on all these ideas, mere­ly reveal­ing a dark­er side of San­ta that was already, always there from the start, while also dress­ing its killer in a cos­tume that makes his own mali­cious intent impos­si­ble to dis­tin­guish from the nicer motives of all the oth­er San­tas out on Christ­mas Eve.

Three years lat­er, Sel­l­i­er Jr’s now noto­ri­ous film spawned a sequel, Silent Night, Dead­ly Night Part 2, direct­ed by Lee Har­ry, and focus­ing on Billy’s lit­tle broth­er Ricky, now all grown up. The first 40 min­utes of this 90-minute fea­ture shame­less­ly re-edit scenes from the orig­i­nal film into an over­long reca­pit­u­la­tion of past events, as nar­rat­ed by the insti­tu­tion­alised Ricky (Eric Free­man) to a crim­i­nal psy­chi­a­trist (James L Newman).

Ricky has already gone on one killing spree, and will soon escape to kill again, but unlike his big­ger broth­er Bil­ly, Ricky mur­ders in ways that have lit­tle con­nec­tion to Christ­mas (until the very final scenes), and takes far greater plea­sure in the process, ensur­ing that there is a smirk­ing, semi-com­ic glee to the sadism of the film’s massacres.

The best thing about this sequel is the scene where Ricky set­tles in with his girl­friend Jen­nifer (Eliz­a­beth Kai­tan) to watch a film at the the­atre, only for it to be revealed that the film in ques­tion is, impos­si­bly, Charles E Sel­l­i­er, Jr’s Silent Night, Dead­ly Night (near half of which we have already seen in Ricky’s flash­back). Remem­ber that this was over half a decade before Wes Craven’s New Night­mare and espe­cial­ly his Scream would sud­den­ly pop­u­larise post­mod­ern self-con­scious reflex­iv­i­ty in hor­ror, ensur­ing its dom­i­nance in the late Nineties genre scene.

When a char­ac­ter seat­ed in the theatre’s back row takes it upon him­self to give an obnox­ious­ly loud run­ning com­men­tary on the per­ceived fail­ings of Silent Night, Dead­ly Night, he will end up bru­tal­ly pun­ished for his crimes against cin­e­ma, as hor­ror, through Ricky, takes its revenge not only against naughty breach­ers of film­go­ing eti­quette, but also against blowhard crit­ics. Of course, every­thing Ricky does in this scene has a kind of log­ic to it – for who among the audi­ence of Silent Night, Dead­ly Night Part 2 does not under­stand, and will not sym­pa­thise with, what he has had to endure from this back­seat loud mouth?

Silent Night, Dead­ly Night is avail­able in a lim­it­ed edi­tion Blu-ray set con­tain­ing both the orig­i­nal the­atri­cal ver­sion and extend­ed cut of the first fea­ture, as well as its sequel Silent Night, Dead­ly Night Part 2, via 101 Films’ Black Label on 9 November.

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