Horror Hotel (1963) aka City of the Dead

"The basis for reality is in fairy tales; the basis for fairy tails is in reality."~Professor Alan Driscoll (Christopher Lee)

I was thinking the other day about what defines a “B-Movie”. There are varying descriptions, normally invoking images of movies made on the cheap. Additionally, films that are so-bad-they’re-good have been grouped into this category.

Some people believe that only older movies qualify for B-Movie status. Myself, I do not subscribe to this assessment. I believe that modern movies can also be considered B-Movie material, and that’s not a bad thing (See my review of Abraham Lincoln vs. Zombies). Personally, if a film is made inexpensively and quickly, employing science fiction, horror, or fantasy elements it falls into B-Movie category, as long as it’s an earnest attempt and not purposely badly-made, if that makes sense.

However, the traditional B-Movie description comes from the humble beginnings of drive-in movie history. In the 40’s and 50’s, film production companies typically released two movies at once to follow the two-film format of the drive-in experience. The first movie, which came in Reel ‘A’, would be the big one, with the highest-paid stars, lavish budgets, and biggest sets. Often, the second film that followed, in Reel ‘B’, would be one made quickly and cheaply, using contract players who were paid by studios weekly to help churn out the second movie to fill out the two-movie block. Hence, these movies were called the ‘B’ movies. Get it? The stars in the first movie were “A-list” actors. The second movie…well, that’s where we get ”B-Movie actors”. I mention this for two reasons; one, it’s historically interesting; and two; it’s a decent segue-way into today’s review.

Made in 1960, Horror Hotel, as it was known in the U.S. or City of the Dead as it was known in Britain, hit theaters double-billed with the West German film The Head. I do not consider Horror Hotel to be a B-movie on the basis of being cheap or bad. It is actually a really good, slick-looking production. I have another qualifying characteristic; the inclusion of Christopher Lee. Sorry, Star Wars Episode 2 and 3, but that makes you an expensive B-movie. Horror Hotel is an enjoyable, scary, atmospheric movie that draws you in quickly with its well-conceived characterization, spooky set design, and witty dialog.

The opening brings us into the community of Whitewood, Massachusetts in the 16th Century.
We witness a mob closing in, which is generally accepted as not a good sign for somebody. They accuse the town weird chick, Elizabeth Selwyn, of being a witch and set about burning her at the stake. At this point, we don’t know if there is any evidence or reason, or if they are being paranoid or what. She asks for help from Jethrow, who promptly throws her under the bus. He denies having consorted with her, presumably to save his own skin. However, we see him utter a prayer to save her while the mob sets about burning her at the stake. His prayer is unusual though, as he is not beseeching God for help; he is actually calling on Lucifer! A dark shadow forms over the crowd, and the conclusion is left ambiguous to the audience.

We cut to the present and meet our main character, Nan Barlow. Nan is played by Venetia Stevenson, a 50’s blonde model and actress who also appeared on “77 Sunset Strip”. She is studying American History in college under Professor Alan Driscoll, played by the always amazing Christopher Lee, in a non-Hammer film non-vampire role. Driscoll is giving a lecture on the witch trials, and shows an unnatural intensity toward the subject. Speaking of unusual attraction for witchcraft, Nan, who is an over-achiever, tells him how she wants to know more on the subject to help her grade. He sends her to Whitewood to learn first-hand from the locals more about the lore, explaining that he knows Mrs. Newless of the Raven Inn.

Nan goes off to Whitewood, despite objections from her boyfriend Bill, her brother Professor Richard Barlow, and common sense. Nan is nice looking, intelligent, and likeable. As portrayed by Venetia Stevenson, she is capable of showing us a sympathetic character you want to both root for, and choke for her many bad decisions. Her lack of discernment in this story would embarrass a five-year-old, but if she had an ounce of wisdom, there would be no movie.

She pokes around Whitewood for a few days to learn about witchcraft and lore from the townspeople. The set of the town is quite impressive for an older movie. The buildings do look ancient, the backdrops eerie, and the use of fog is quite effective. Nan meets the inn keeper, Mrs.
Newless. Newless is mysterious, creepy, and bears a strong resemblance to the woman killed in the beginning of the story.

She also meets the librarian; another young girl about her age, probably early 20’s who has only been in town a couple of weeks. Her name is Patricia Russell, and she is played by Betty St. John. Betty should be familiar to fans of 50’s and 60’s films, having appeared in such movies as “The Robe” and “Corridors of Blood”, also with Christopher Lee.

Ms. Russell is living with her grandfather, Reverend Russell. He warns Nan to get out while she can, but does not elaborate. Despite her many warnings, poor Nan bites the bullet fairly early in the movie. This movie has drawn many comparisons to Psycho partly because of this part of the story. For example, she is in a strange inn (like the Bates Motel). She is up to something forbidden by showing a strong interest in black magic, whereas the girl in Psycho is actually breaking the law. Just before being killed off, both characters are seen wearing black “bad-girl” undergarments, pretty daring in the 50’s and 60’s. Black bras and underwear always indicate a dark character trait in early films, and nearly always mean this person’s going to meet her maker very soon!

So poor Nan sneaks around and stumbles upon a ritual involving witches observing Candlemas. They tie her down and one reveals herself to be Mrs. Newless, who is really Elizabeth Selwyn. Get it? Newless is phonetically Selwyn backward. Elizabeth kills Nan off-screen in a scene that builds up dramatically and is quite effective.

This is one area where the movie is so much better than modern movies. There is not one drop of blood, though lots of violence occurs or is implied. What you don’t see is much scarier than actually seeing lots of gore for gore’s sake. Just before a person (or in one case, a poor animal) is killed, it cuts to another scene, or occurs off-screen.

Nan’s brother Richard sets out to find her after she disappears and misses her aunt’s birthday party. He learns more about her research after talking to the librarian Patricia. The two hit it off pretty quickly. Her grandfather warns Richard about hanging around and advises him to leave.
However, soon it is obvious Pat is the next victim. Reverend Russell tells Richard how to stop the witches with a large cross. Why this information has never been used before now is unclear, but that’s unimportant. Meanwhile, the boyfriend who until now has been largely useless and unlikeable shows up to town to also search for Nan. Just as he arrives, he has a bad car wreck in one of the films “gotcha” scary scenes. He lumbers on into the village anyway,
showing up in time to help Richard and Pat. The townspeople are apparently all witches and warlocks, having grabbed Pat for the final sacrifice, which has to be done by midnight, because that’s how these things work.

Richard and Bill work together to save the day. The conclusion has Bill taking a cross from the hallowed grounds of the church and carrying it to the sacrifice. The cross has the startling effect of causing the witches and warlocks to burst into flames. The effect is unexpected for a movie of this era, and is intense, as we see several of them running around consumed by fire, sometimes in the same frame. Kudos to the effects team and stunt men. You see it lots of times now,
but this is an early example as far as I can tell.

Horror Hotel is a remarkable little movie in many ways. It has my admiration because of the tight direction, heightened tension without much violence (save for the fiery conclusion), and spot-on performances. I wish that Christopher Lee has a bigger part in this, but that is my only qualm.

Witchcraft purists might not like the fact that the script makes no distinction between witches and literal Satan worshippers, with them specifically calling out to Lucifer. However, if you study Christian Scripture, it is clear that there are only two paths; the One True God, or Satan. If you are not a believer in Christ, then all other paths lead to the devil.

James 3:15 says, Such“wisdom” does not come down from Heaven but is unearthly, unspiritual, of the devil.

I am not bothered by the depiction of pairing of witchcraft with Satanism. I just want readers to
know where I’m coming from. That plot point helped the conclusion make sense, when the antagonists are defeated by the appearance of the holy cross. I like horror movies with a spiritual
theme. Evil is ultimately undone by God, and in this movie it is shown unapologetically.

I highly recommend this movie, and give it the highest mark, four out of four.

Didja Know?

• I am by no means an expert in witchcraft, Wicca,
  or any of those themes. I had to do some
  research after seeing this movie on their ritual they call Candlemas. I found
  that it is actually a Christian holiday, observed to celebrate Jesus’ early
  life.
• Fun fact-Rob Zombie's song Dragula featured Christopher Lee's sound byte "...superstition, fear, and jealousy" 
• Betty St. John would later become the
  mother-in-law to American rocker Axle Rose of Guns N’ Roses
• Two minutes of footage missing from the American
  print showed Elizabeth in the initial burning scene declaring her allegiance to
  Lucifer and placing the curse on the village.
  The removal of this plot point would make her guilt ambiguous until
  later in the movie, but made certain bits of dialog sound confusing when
  referring to the curse over the town