Easily the most controversial slasher film of the 80s, Silent Night, Deadly Night was released on November 9, 1984, by TriStar Pictures. But the theatrical run lasted only a week, as the film was pulled due to the uproar caused by the promotional material and the film's basic plot involving a killer dressed as Santa Claus.
The poster was pretty controversial, with Santa crawling down a chimney with an axe in hand. But even worse was the decision to purchase television ad time during family-friendly television shows. Tri-Star knew the film would be a money-maker, but the ad campaign failed to consider the reactions from parents, child advocacy groups and film critics itching to attack another slasher film.
Angry families picketed theaters showing the film, worried it would have an adverse affect on children. The PTA fought to have the film removed, while Siskel and Ebert attacked the film, with Siskel exclaiming, "Shame on you," to TriStar and its parent companies. The film was condemned by other critics as well, but that didn't keep it from making over $2 million before it was pulled from release. And fueled by the controversy surrounding it, the film became a hit on home video and spawned four sequels (though the final two were sequels in name only).
With Christmas rapidly approaching, I started thinking about this film again, as the Hollywood Theatre in Portland, OR, has screened it every December for years. And while it's fun to be in a dark theater with other fans watching the film EVERYONE told you not to see, I have to wonder if horror fans would still be watching Silent Night, Deadly Night had critics and parent groups not reacted so vehemently against it and let the film play out in theaters. After all, the film Christmas Evil, released in 1980, involved another deranged killer in a Santa Claus suit. That one didn't generate any controversy and is pretty much forgotten now.
But I think the script, written by Michael Hickey, from a story by Paul Caimi, is transgressive enough to warrant the film's cult status, regardless of the uproar during its initial release. I'll explain my reasoning after a brief, minor spoiler filled recap of the film.
The movie opens as young Billy Chapman (Danny Wagner) and his family visit his catatonic grandfather in a nursing home on Christmas Eve. Left with the old man as his parents discuss his treatment, Billy's grandfather suddenly starts talking to Billy about how Santa Claus punishes the bad children and, should Billy see the jolly old elf tonight, "...you better run boy, you better run for ya life!"
That would be traumatizing enough, but a killer dressed in a Santa suit manages to stop the family on their way home. Billy's father is shot and sexually assaulting his mother before slitting her throat. Billy manages to hide, avoiding the killer.
Billy and his baby brother Ricky (who was left in the car during the attack, but not killed) are now in a Catholic orphanage. As one might expect, he has some issues with the holiday season, which irks the Mother Superior (Lilyan Chauvin), who believes children can be made to to behave if they realize that, "Punishment is absolute, punishment is good." Despite the objections of Sister Margaret (Gilmer McCormick), who is less of an disciplinarian, the Mother Superior decides the only way to put Billy on the path of righteousness is to beat his evil thoughts out of him.
Yeah, nothing like some Old Testament punishment to deal with severe trauma and PTSD. But, given my Catholic upbringing, I can't say that wouldn't be the case with some old school nuns and priests.
Anyway, we cut to 1984, as Sister Margaret gets a now-adult Billy (Robert Brian Wilson) a job at a local retail toy store. That's a weak point in the script, as I can't understand her reasoning for getting Billy a job in a freaking toy store. Sure, it was summer when he was hired, but it's hard to imagine Billy has suppressed his issues surrounding the holiday season enough for anyone to think he'd be fine working in any store reliant on Christmas.
But Billy does pretty well at his job, and even develops a crush on a co-worker, Pamela (Toni Nero), though his sexual thoughts about her trigger visions of his parent's death. Still, it's easy to hope things work out for the best. Billy is really trying to fit in, enjoys his job, and Pamela seems like a really nice person.
But surprise, Christmas puts a bit of strain on Billy. And things get worse as his boss makes Billy play Santa after the hired Kringle is injured and unable to show up. The parents love how Billy is able to calm their children should they react in fear of Santa, but they don't hear Billy whispering threats of punishment to them.
And things get even worse once the store closes and the employees started drinking. The final straw is when a sleazy co-worker tries to rape Pamela, driving Billy WAY past the breaking point. He kills both, than the rest of the employees, before heading out of the store to spread Christmas fear.
And, as expect, mayhem ensues as Billy leaves a bloody trail on his way back to the orphanage. He decapitates a sledder, impales a topless Linnea Quigley on a set of deer antlers, and causes the local police to draw their guns on anyone dressed as Santa.
It's a pretty standard slasher film, which leads me to suspect it wouldn't have the same cult following had the critics and parent groups not reacted as strongly against it. But the script is pretty good during the first forty minutes or so, as we witness the events that leads Billy to the breaking point and, as I mention earlier, you might feel yourself rooting for Billy to overcome his trauma.
Though you know that's not going to happen. This is a slasher film, after all, and blood must flow.
I will admit I'm not one for slasher movies trying to explain why the killer behaves as they do, at least in our modern remake culture. The Shape is an unstoppable boogieman, Jason is born of the rage of witnessing his mother killed, and Freddie is just a pedophile who continues his murderous spree in the dreams of his victims. But as filmmakers bring new versions of these characters to the screen, they want to add something new and unique to the story, and that often involves a backstory that simply neuters the character.
But Silent Night, Deadly Night is different. Billy is a character whose abusive treatment at the orphanage never lets him process the trauma of that one horrid Christmas Eve. It also explains his code, as he's been taught that punishment is absolute and necessary. And, after Billy dispatches babysitter Quigley and her boyfriend, he bestows a gift to a young girl who swears she was good all year. Sure, it's a bloody razor knife, but it shows Billy isn't some mindless killer. In that scene, the script gives the character some depth, showing how his behavior was shaped by the horrible events from his early childhood.
I don't think the script is trying to absolve Billy of his killing spree. But I think it's taking the idea that the wrong approach to dealing with a person's trauma will produce disastrous results. I'm fine if you accuse me of reading too much into the film, but it's in the script. Billy's grandfather, the killer in a Santa suits actions, and the Mother Superior's attempt to beat the bad thoughts out of him all culminate into a fragile individual one final trauma away from snapping.
And at this point, we need to talk about Billy killing Pamela after he stops her sexual assault by the sleazy co-worker. It's easy to read the scene as misogynist, as she was lured into the storeroom and repeatable said no. But don't forget, Billy is a character with a warped sense of right and wrong, and watching her walk into the storeroom without resistance, and seeing what was happening, could override his ability to discern what was happening. I'm not defending his reaction, but I am saying, given his mental state as written into the script, it's no surprise he reacted as he did.
Especially considering this is a slasher flick.
I'm not saying the film is a classic. While the acting is pretty good for its low-budget, the script delivers some laughable moments, especially with the police over-reactions to Santa-suited men. And yes, some of the kills are as over the top as any 80s slasher film. But watching how Billy is molded into a killer is interesting, and the script makes it feel plausible. Standard slasher mayhem aside, the script makes Billy's journey realistic in a way most 80s slasher films, and their remakes, do not match.
And I'm going to say I think some of the critical backlash came from the portrayal of Catholic nuns. While Sister Margaret is pretty sympathetic in her attempts to help Billy, the Mother Superior hearkens back to a past most want to ignore, unless played for laughs. After all, these were the people we entrusted to protect our children from the evils of Dungeons and Dragons, Harry Potter and the like. And the Old Testament idea of beating the evil from someone is pretty outdated, even back in the 80s. And I suspect any of the protesters , had they actually watched the film rather than reacting to the ad campaign, would have been horrified at how the nuns are portrayed.
So let's get back to the question I asked earlier in this review. I don't think Silent Night, Deadly Night would be another forgotten 80s slasher film, had those wanting to protect the children just ignored the film upon its initial release. The cult following might not be as strong, but it would still be there thanks to the transgressive script, good acting, gratuitous nudity and fun, gory kills. And, to be honest, it's a nice, tart antidote to the most saccharine time of the year, which would only add to it's appeal.
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