The film’s most unusual behind-the-scenes dispute came years after production, when Troma Video released a director’s-cut edition in December 2000. Director Lewis Jackson later said the release had been made under “false pretenses”: he believed Troma had legitimately acquired the rights, only to discover that the company had obtained them through what he described as a fire-sale situation. According to Jackson, the rights holders had gone bankrupt after there was literally a fire, and Troma entered “the rubble” to collect whatever assets remained. His complaint reflected a familiar nightmare of low-budget independent filmmaking: a picture made without the legal and financial protections enjoyed by studio productions could pass through bankruptcy, damaged records, and distressed rights sales, leaving the filmmaker uncertain about who controlled the movie. Troma’s edition ultimately helped preserve and circulate Christmas Evil, but Jackson’s account turned the film’s home-video afterlife into another chapter of its troubled history, followed by later special editions from Synapse Films in 2006 and Vinegar Syndrome’s 2014 Blu-ray release.
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