The world of cinema has lost one of its most unforgettable stars with the passing of Olivia Hussey. Known for her captivating performances and ethereal presence, Hussey’s career spanned decades, but it was her work in the horror genre that cemented her place in cinematic history. Her portrayal of strong, complex characters across a variety of films has left an indelible mark on both the industry and audiences alike.
Hussey’s notable role in Black Christmas (1974), directed by Bob Clark, remains one of the defining contributions to the horror genre. As Jess Bradford, a college student who becomes the target of a terrifying phone stalker during Christmas break, Hussey delivered a performance of quiet strength and vulnerability. Black Christmas would go on to become a cult classic, influencing generations of slasher films that followed, with Hussey’s chilling turn as one of its earliest heroines still resonating with fans.
Her talents transcended the genre, yet it was her return to horror that brought more unforgettable moments. In Psycho IV: The Beginning (1990), she portrayed Norma Bates, a character that brought fresh depth to the story of Norman Bates, brilliantly counterbalancing the legacy of the original Psycho films. Hussey’s portrayal imbued the role with nuance, adding a layer of sympathy to a tragic and infamous character.
In addition to these films, Hussey’s role in Turkey Shoot (1982) stands out as another testament to her versatility. This action-packed horror film saw her in a more physical, confrontational role, showcasing her ability to navigate both suspenseful terror and high-stakes action with grace and poise.
Hussey also made a memorable contribution to IT: The Mini-Series (1990), where she portrayed Audra Denbrough, the wife of Billy Denbrough (played by Richard Thomas). In this role, Hussey brought a grounded, emotional presence to the adaptation of Stephen King’s beloved novel, adding depth to the narrative and anchoring the emotional stakes of the story, particularly in her scenes alongside Thomas.
While her career spanned a wide variety of genres and roles, it was her contributions to horror that continue to influence and inspire. Olivia Hussey’s legacy in the world of film will not soon be forgotten. Her ability to convey fear, resilience, and vulnerability on screen has left an enduring impression on both her fans and the filmmakers who followed in her wake.
We remember Olivia Hussey not only for the characters she brought to life but for the profound impact she had on shaping the genre and the hearts of all who were fortunate enough to witness her performances.
Rest in peace, Olivia Hussey. You will be greatly missed.
Few films have had as lasting and significant an impact on the horror genre as Bob Clark’s Black Christmas (1974). Often considered one of the earliest and most influential slasher films, this Canadian cult classic set the stage for an entire subgenre, crafting many of the tropes and techniques that would come to define horror for decades. Despite being overshadowed by later films like Halloween and Friday the 13th, Black Christmas deserves recognition for pioneering the slasher formula with a chilling, understated approach that remains terrifying even today.
At first glance, Black Christmas may appear deceptively simple: a group of sorority sisters are terrorized by a mysterious killer during the holiday season. However, beneath this surface lies a film that is far more unsettling and artfully constructed than the plot might suggest. The film centers on a sorority house where a series of disturbing phone calls from an anonymous stalker escalates into a killing spree, leaving the women inside fighting for their lives. What makes Black Christmas stand out, even now, is its unnerving atmosphere, psychological horror, and narrative ambiguity.
Though Black Christmas wasn’t the first horror film to feature a mysterious killer stalking victims, it was among the first to codify many of the key elements of the slasher genre. The killer is hidden, only referred to as “Billy,” and his identity is never revealed. This creates a terrifying sense of anonymity, leaving viewers unsettled and guessing throughout. The film’s signature technique of showing the killer’s point of view through a shaky, handheld camera, often as he lurks inside the sorority house, was a novel approach at the time. This perspective not only put the audience uncomfortably close to the villain but also emphasized the voyeuristic nature of the genre, which would become a hallmark of slasher films.
Furthermore, Black Christmas introduced another crucial element to the slasher formula: the final girl. Jess (played by Olivia Hussey) serves as the prototype for what would become a defining archetype in horror films. She is resourceful, determined, and morally complex, facing down not just the threat of the killer but also grappling with difficult personal decisions, such as her unplanned pregnancy. While Halloween’s Laurie Strode may get most of the credit as the iconic final girl, it was Jess who paved the way.
What truly sets Black Christmas apart is its refusal to rely on cheap jump scares or excessive gore. Bob Clark, who would ironically go on to direct the holiday classic A Christmas Story, leans heavily into psychological horror. The film’s pacing is slow but deliberate, building tension in a way that mirrors the growing paranoia and terror within the sorority house. The mysterious phone calls—featuring unsettling, incoherent babbling and eerie voices—play a significant role in creating a pervasive sense of dread. These moments are perhaps some of the most unnerving in the film, as they tap into the fear of the unknown. We never truly understand who “Billy” is or why he is targeting these women, and this ambiguity is far more terrifying than any clear motive.
There’s also a layer of ambiguity in the way the story ends. The final moments of the film leave the audience in a state of unease, as we realize that the killer may still be lurking inside the house. It’s a haunting conclusion that forgoes the catharsis of resolution, instead opting to leave viewers with lingering questions. This open-endedness not only subverts expectations but also keeps the fear alive long after the credits roll.
Despite Black Christmas’s relatively modest success at the box office, its influence on the genre cannot be overstated. Released four years before Halloween, it laid much of the groundwork that John Carpenter would refine to perfection. The trope of an unstoppable, unseen killer, the use of holiday settings as a backdrop for horror, and the idea of a final girl all originated here. Films like Friday the 13th (1980), A Nightmare on Elm Street (1984), and Scream (1996) would later take these concepts and run with them, but Black Christmas remains their precursor.
Moreover, Black Christmas redefined the role of women in horror films. While earlier horror often portrayed female characters as passive victims, this film empowered its female leads with agency and complexity. Jess, in particular, challenges the conventions of morality and survival that would later be expanded upon in the genre. This emphasis on strong female protagonists would become a defining characteristic of slasher films in the years to come.
Nearly 50 years after its release, Black Christmas retains its ability to shock and unsettle. Its stark portrayal of violence, coupled with its minimalistic style, lends it a timeless quality that feels just as disturbing today as it did in 1974. While it may not have the same widespread recognition as some of the films it influenced, its legacy is undeniable. The way it skillfully balances psychological horror, tension, and brutal realism set it apart from its contemporaries and continues to resonate with audiences, reminding us that true terror often lies in what we don’t see.
The Prognosis:
In the annals of horror, Black Christmas stands as a groundbreaking film that helped shape the slasher genre and define its future trajectory. Bob Clark’s minimalist approach, the chilling atmosphere, and the deeply unsettling narrative make it a landmark of horror cinema. For any fan of the genre, Black Christmas is essential viewing, both as a pioneering work and as a timeless masterpiece of fear.
On its initial release when Ozploitation was at its peak, Turkey Shoot was not received favourably especially from its homegrown audience in Australia. And yet it garnered a deeper appreciation under the title Blood Camp Thatcher, the name carrying a double edged meaning for its tyrannical camp commander, Charles Thatcher (Michael Craig), but probably more so for his namesake and a certain political leader in the UK who was not looked on in a kind light.
Since then, the film has picked up a cult following which in part is due to Quentin Tarantino who cited it as an influential movie. Personally I think that Turkey Shoot has a lot of charm, infusing a dystopian, totalitarian world with The Dangerous Game. Director Brian Trenchard-Smith also has a knack for producing stellar action flicks with a strong, entertaining beat.
Trapped in a controlled Government with supreme views, those who oppose this ruling are gathered up and shepherded to a concentration camp to either be conformed to society or be subjected to Thatcher’s will. In some cases this involves the turkey shoot, a hunt set by Thatcher and his associates, including a horse-riding, crossbow wielding socialite, Jennifer (Carmen Duncan); Secretary Mallory (Noel Ferrier); Tito, a violent sadist and his beast-like man; and Roger Ward as the camp guard, who between pick out degenerates from the camp to offer a false illusion of freedom while they track them down and kill.
Our team of misfits contain Paul Anders (Steve Railsbeck) as the Steve McQueen-esque Cooler King who has escaped from numerous camps; Rita Daniels (Lynda Stoner) an accused prostitute; Griffin (Bill Young) another escapee of numerous camps; Dodge (John Ley) a bumbling, yet loyal prisoner; and Chris Walters (Olivia Hussey), a shopkeeper falsely accused of aiding a rebel.
It’s a simple enough story but with its outlandish methods of being tracked by their pursuers, the film carries a certain energy that keeps you gripped and entertained.
The Diagnosis:
For those unfamiliar with the Ozplotiation scene, Turkey Shoot is a great entry into the genre.
It carries some great set pieces that are of the extreme and tick the boxes of satisfaction when they come about.
The cast deserve recognition too, but this is Trenchard-Smith’s movie and its his vision that is on show and peppers the film with such vigour and the character of the film shines throughout as a result.
Surgeons of Horror 