Don’t Open ‘Til Christmas 1984 Review

Don’t Open ‘Til Christmas 1984

Directed by: Edmund Purdom

Starring: Edmund Purdom, Kelly Baker, Alan Lake

Review by Luisito Joaquín González

Don’t open ’till Christmas was the middle of the three slasher flicks from the short-lived Dick Randall/Steve Minasian production partnership and by far the most bizarre. Most of it was shot in 984674873873873873August 1982, but after various creative disagreements, it was shelved, whilst extra footage was filmed and then spliced together some two years later.

After three potentials rejected the script, it was set to be the debut of Edmund Purdom in the director’s chair, but he soon realised that he was way above his head and so handed the 874874438383939833steering wheel over to the story’s writer, Derek Ford. Ford managed a number of scenes, but was soon fired from the project, so Randall drafted in someone who had experience of taking over the hot seat in a jumbled production, namely Ray Selfe. He was also given the unenviable job of editing the footage and making some kind of cinematic sense out of the misguided work of three separate visions, which was an incredibly difficult task. He was joined by Alan Birkinshaw who at that time had just wrapped up filming on eighties cult feature Killer’s Moon and to add more confusion, he also shot some parts and dabbled with the story. Many scenes failed to make the final cut and it is perhaps credit to Selfe that he managed to put enough together to get the film released.

Randall’s previous production, Pieces, had been a relatively successful entry and the mission statement here was 8734674387238738739839822most definitely to aim for more of the same. Make no bones about it, this is pure slasher by the numbers and has been given a Christmas gimmick for the chance of a big festive audience and a longer life expectancy. But what this flick does do differently is instead of having a maniac in a Santa suit killing off people, which had already been done, they turned it around to give us a masked psycho killing guys wearing that distinctive clothing.

After a Father Christmas is killed during a fancy dress party, the victim’s daughter and her boyfriend get involved in the investigation. They believe that the Police aren’t doing all they can with the mystery and before long, the killer begins to target them. With only hours remaining until the big day and Santas dropping like flies, who will be able to solve the mystery?

You know what? Don’t open ’till Christmas plays like it was the result of a few opposing personalities that had thrown contrasting ideas in to a saucepan and hoped for the best. Hold on a minute; that’s exactly what happened! Ok, so 2672653265267267226722seriously, this one is a bit like singing the words of Living’ on a Prayer over the backing track of Sweet Child o Mine at a karaoke bash. Before I was informed about its production woes, I just assumed that it was a poorly paced and rushed released mess, but now I know about what happened, it’s easy to see the reasons why it’s such a patchwork. Characters pop up here and there without any real structure and some scenes, like the hilarious twist revealing phone call between Kate Briosky and the housekeeper were definitely added in a lazy attempt to string the plot together. George Dugdale, the director of Slaughter High and the hubby of Caroline Munro, was involved in this project and got his wife to turn up for a cameo in an obvious attempt to add some experience to the cast. She is on screen for two minutes tops (singing an awful disco oddity) and then disappears completely, almost as quickly as the story loses focus. It all starts very well, with three murders in ten minutes, but from then on the momentum just vanishes and the fun comes to a screeching halt. It’s hard to tell what was in the original concept and what wasn’t, but the film is something of an enigma. It spends ages building up a possible final girl, only to brutally slaughter her 874367433873873873and bring on a substitute who doesn’t fit the traditional characteristics about half way through. I guess that Randall took the real reasons that an interesting venture fell apart to the grave with him in 1996.

Christmas plays host to the worst chase sequence anywhere ever. The location is immense (The London Dungeon no less), the killer has an outstanding guise, but it’s just so poorly handled that it is far more comedic than it is suspenseful. In fact, despite boasting a huge body count, none of the killings are creepy, even though they most definitely have the potential to be just that. The movie 8438743783873873873does its best to keep you guessing and the unmasking scene is ok, but to be honest, the whole thing is such a crack handed knot that it could have been anyone. Hell, it could have been you!

The film aims to come across as sleazy and therefore sacrifices the fun factor that’s usually abundant in eighties slashers. One overweight Santa gets castrated in a grimy urinal whilst another gets his face burned off on a grill for roasting chestnuts. The gore effects by Peter Litton are surprisingly good, but got the movie in a hell of a lot of trouble with UK censors and I was only able to see the full version because I picked it up in Spain. It also has a rather haunting score; a kind of eerie take on Jingle Bells, which if used properly could have set a macabre environment. I also thought that the various masks that the killer used were pretty cool, especially the one in the picture below. Whether it was intentional or not, 873474378387387398239822the atmosphere conveyed here is one of depression and the film, much like Scrooge, ignores any attempts at festive spirit, which means it is definitely not one that I could recommend to be watched this time of the year.

By far the worst of Randall’s eighties output, it gives the viewer as much of a headache as I’m9272652 sure that it gave the people involved in the concept. I like seeing London as a backdrop and lines such as, “Get away, go on clear off!” in a Bermondsey tone were amusing, but I can’t find much here to warrant a purchase. The grammatical mistake on the title card (dont instead of don’t) is only the start of the incompetence and the film never escapes its clutches thereafter.

Not one of the merriest decorations on the ceiling, you would be better to deck the halls with Black Christmas and Silent Night Deadly Night instead.

Slasher Trappings:

Killer Guise:√√√

Gore √√√

Final Girl √

RATING:

8746748734873873873873873983

Posted on December 21, 2011, in Slasher and tagged , , , , , , , , , . Bookmark the permalink. 4 Comments.

  1. I thought it was decent little christmas slasher but there is no way it beats out the 2 greatest christmas slashers of all time The original Black Christmas! And the original Silent Night Deadly Night! I agree completely on that!

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