A GHOST STORY FOR CHRISTMAS: Scary, Scary Christmas

In the early 1970s, Lawrence Gordon Clark, a documentary filmmaker for the BBC, came up with the idea to make his first feature film. The story was based on the short story The Stalls of Barchester by Montague Rhodes James — a British scholar and writer from the late 19th and early 20th centuries, who often wrote during the Christmas season to read his tales at holiday gatherings. Clark managed to convince the BBC executives to fund the project, and thus, on Christmas Eve 1971, the film The Stalls of Barchester was aired on BBC One. Over the next seven years, seven more episodes of the series A Ghost Story for Christmas were made. With the exception of the last one, which was directed by Derek Lister, all were directed by Clark from scripts written by himself, Robin Chapman, John Bowen, David Rudkin, Andrew Davies, and Clive Exton. The first five episodes are adaptations of James’s stories from 1895 to 1926, the sixth was based on a 1866 novella by Charles Dickens, and the last two were original scripts written by the screenwriters.

Unusually for a BBC production, the episodes were shot not in the studio, but on location, which allowed the cinematographers (mainly John McGlashan, who worked on the first five films) to use night shots and exterior locations such as Norwich Cathedral, the 15th-century St Mary’s Church in Happisburgh, the Elizabethan estate of Prideaux Place, and the stone circles in Avebury. The landscapes, locations, and even the weather conditions (fog, snow, etc.) are important elements of each part of A Ghost Story for Christmas, and Clark praised the work of McGlashan and sound engineer Dick Monton as being just as crucial to the atmosphere as his own. The soundtrack was also essential, with compositions by György Ligeti, Bruno Maderna, and Ralph Vaughan Williams, in addition to generic music from the BBC archives. The only episode with a specially created soundtrack was The Treasure of Abbot Thomas, which features works by Geoffrey Burgon for organ, voices, and percussion instruments. The moody cinematography and carefully selected music create tension and an exceptionally eerie atmosphere.

Although the adaptations were essentially faithful to the spirit of James and Dickens, they were adapted for the small screen, which meant some deviations from the source material. Clark was keen on staying true to the tradition — if not the plots, then at least the specific literary tradition, according to which horror arises from the power of suggestion and the sparing delivery of unease, rather than from literalism, shock value, or cheap tricks like jump scares, artificial blood, and plastic entrails — a concept that may be difficult for audiences raised on the absurdities of films like Saw. The films of the series rely on elegant restraint and a thick, enigmatic atmosphere. The television format also proved ideal for ghost stories: unlike cinema and theatre, television is a deeply personal, almost intimate medium through which we invite ghosts into our own homes. The 1960s and 1970s were the golden years of British television, during which it did not attempt to imitate other media but rather stood as an independent entity, perfectly situated in the niche between film and theatre.

Starting with the first episode, the series was very well-received by viewers. The films, lasting between 30 to 50 minutes, were aired between December 22 and 29 — late at night, typically between 11 PM and midnight, often as the last show of the evening (at that time, television didn’t broadcast 24/7). The late hour, the sinister tone contrasting with the typical festive programming, and the involvement of well-known actors (including Peter Vaughan, Denholm Elliott, and Robert Hardy) all contributed to the success of the series. However, the last two episodes received cool reactions and less interest, leading to the series being put on hold for many years. It was revived in 2005, although now as a sporadic series, rather than an annual one. To date, eight new episodes have been made, with the ninth premiere scheduled for Christmas 2023. The tradition of ghost stories is therefore still alive and well, continued by Mark Gatiss, who took over from Clark and has directed all the films in A Ghost Story for Christmas for the past ten years — an interesting alternative to Home Alone.

Let’s take a look at the eight episodes from the first series (1971–1978).

The Stalls of Barchester (1971)

The first episode of the series is a loose adaptation of M.R. James’s The Stalls of Barchester. The film takes place in the 1930s, when Dr. Black is cataloging the library of the titular cathedral and discovers the diary of the former archdeacon, Haynes. From the priest’s notes emerges the story of the death of his predecessor, the elderly Archdeacon Pulteney, and the mysterious events surrounding it. Black also learns the legend of a curse cast by a sculptor who made the decorations on the cathedral choir stalls from wood used in magical rituals. The film is a fairly successful opener to the series but still far from the perfection Clark would achieve in later episodes. The main criticism lies in splitting the story into two timelines, which results in numerous flashbacks that somewhat disrupt the structure and mood of the piece. Despite this, The Stalls of Barchester exudes a deeply unsettling atmosphere and contains at least one scene that will freeze the blood in your veins (keyword: hand). The setting of Norwich Cathedral and its surroundings will delight anyone sensitive to the beauty of Gothic-Norman architecture.

A Warning to the Curious (1972)

The adaptation of M.R. James’s A Warning to the Curious is one of the finest and most terrifying parts of the entire series. Amateur archaeologist Paxton travels to a sleepy seaside town in search of a mythical crown that is said to protect the east coast of the UK from invasion. Paxton manages to locate the probable location of the buried crown and discovers that members of the local Ager family have been guarding the valuable yet dangerous artifact for generations. Paxton soon finds out how determined one of the Agers is when he uncovers the crown. Some elements of the plot differ from James’s story, but the creators not only managed to preserve the eerie atmosphere of the original but even surpass it in terms of spookiness. The haunting specter on the dunes, the desolate beaches of the east coast of England, the moss-covered tombstones under the old church, the cold winter landscape, and Ligeti’s chilling music (previously used in 2001: A Space Odyssey) — all contribute to making this a small masterpiece of folk horror.

Lost Hearts (1973)

This film is based on M.R. James’s Lost Hearts. Young Stephen becomes an orphan and is taken in by his older cousin, Mr. Abney, who lives in a large country estate. Mr. Abney, who calls himself a scholar, appears to be a harmless eccentric fascinated by alchemy and other occult sciences. The housekeeper tells Stephen about Mr. Abney’s kindness, as he once took in a gypsy girl and an Italian boy. While playing in the vicinity, Stephen notices the ghostly figures of two children who seem to have a message for him. Lost Hearts is another successful adaptation of James’s prose for television. The resolution of the mystery surrounding the dead children is easy to predict, but it doesn’t detract from the enjoyment. The film stands out for its atmosphere of dread and melancholy, created by the contrast between the idyllic English countryside and the grim Victorian home, as well as between the innocence of the poor children and their tragic story. The sight of the boy and girl — pale, with dark rings under their eyes and claw-like nails — is one that lingers in memory.

The Treasure of Abbot Thomas (1974)

Adapted from M.R. James’s The Treasure of Abbot Thomas, this story follows Priest Somerton and aristocrat Lord Dattering, who investigate the history of an old local monastery and uncover the legend of Abbot Thomas. This 15th-century disgraced monk, who practiced alchemy, was condemned to death for dealings with dark forces but escaped when the devil himself took him. The legend states that before his disappearance, Abbot Thomas hid a chest of gold and clues leading to the treasure. Somerton and Lord Dattering decide to find the gold despite warnings that the abbot left something — or someone — sinister guarding it. The Treasure of Abbot Thomas is more of a detective story than a true horror tale — the film only takes on a sense of dread in its final moments. The filmmakers significantly modified James’s story, relocating the action from Germany to England, removing the character of Brown, Somerton’s faithful servant, and replacing him with Lord Dattering, and adding a scene revealing a fake spiritualist séance. Clark claimed that the relaxed approach to the story benefited the film, and it’s hard to disagree.

The Ash Tree (1975)

In contrast, the director considered the adaptation of M.R. James’s The Ash Tree to be the least successful of the series he directed — and in this case, it’s fair to agree with him. Clark had reservations about how the witch Mothersole was portrayed as an unequivocally evil character: “We know so much about the hysteria surrounding witch trials and the ignorance and evil that drove them, that it was almost impossible to present the character of Mothersole as a purely malevolent person.” Instead, it would have been better if she had been shown as an innocent victim, whose tragic fate would have created more tension and an eerie atmosphere. Despite this flaw, the film still deserves attention. The haunted tree, around which the plot revolves, is menacing, and the film’s primary theme of evil in the form of corruption of nature leaves a lasting impression. Some of the settings, including the stormy coastline, dark skies, and thunder, will bring back memories of classic Gothic stories.

The Signalman (1976)

Adapted from Charles Dickens’s The Signalman, this episode has often been praised as one of the best entries in the series, due to its strong psychological tension and atmosphere. The story centers on a lonely railway signalman who is haunted by the eerie visions of a ghostly figure standing by the tracks, foretelling disasters. The plot is set in a remote railway cutting and revolves around the relationship between the signalman and a traveling engineer who, intrigued by the signalman’s increasing paranoia, tries to understand the source of his terrifying visions. The episode is masterfully crafted, with a hauntingly evocative performance by the actor Bernard Lloyd as the signalman. The eerie atmosphere is amplified by the desolate, fog-filled railway tracks, and Dickens’s tale, which was already imbued with a sense of melancholy and suspense, is brought to life with chilling effectiveness. Clark’s restrained direction, combined with the foggy visuals and haunting sound design, creates an unforgettable sense of dread. The climax of the episode is truly horrifying, with a perfectly timed reveal that chills to the core.

Stigma (1977)

This episode is an original script written by John Bowen. It departs from the traditional ghost story format of the earlier episodes, opting instead for a more psychological and supernatural exploration. Stigma centers on a young man, a writer, who is researching the history of an ancient family estate. As he begins his research, he discovers a strange and unexplainable connection between the house and his own life, suggesting that the past might not be as distant as it seems. The plot follows the young man as he uncovers the dark history of the estate and the tragic, supernatural events linked to it. As he delves deeper, he becomes more and more involved in the family’s tragic legacy. Stigma is notable for its slow-building suspense and sense of creeping unease, with the revelation of the house’s haunted past adding to the mounting sense of inevitability. Though not directly based on the works of M.R. James, it still shares many of the thematic elements of the series, such as the influence of history on the present and the tension between the rational and the supernatural. The episode’s unsettling mood and unexpected twists make it an excellent addition to the series.

The Ice House (1978)

The final episode of the original series is another original script, written by Clive Exton. The Ice House tells the story of an eccentric man, a reclusive writer, who lives in a large, decaying mansion with his mysterious and troubled niece. The man’s past is full of strange and unexplained events, and his niece is gradually drawn into the mystery surrounding him. The story explores themes of isolation, madness, and revenge, as the man’s dark past comes back to haunt him in the form of a chilling supernatural manifestation. The episode is eerie and atmospheric, with an unsettling sense of foreboding that builds throughout the film. Though it departs somewhat from the traditional ghost story formula, The Ice House maintains the same sense of mystery and supernatural dread that permeates the earlier episodes of

A Ghost Story for Christmas. Its conclusion, which ties the supernatural events to the past in a way that feels both inevitable and tragic, provides a fitting end to the original series.