City of the Dead (1960)
“For Whitewood, time stands still.”
*****
Elizabeth Selwyn, the witch burned at the stake in New
England (Whitewood, for which a majority of the film is set), proclaims her
devotion to Satan, offering her soul as the Puritans chant, “Burn the witch!
Burn the witch!” in the 1960 gem, City of the Dead (1960), which was also known
as the “Horror Hotel” (my less favorable title for it, resorting it to some
type of misleading exploitation movie). It opens with scholar/historian/teacher
of the occult, played by Christopher Lee, passionately telling Selwyn’s story
to a small number of students, including the most interested, Nan Barlow (Venetia
Stevenson), looking to beef up her grade point average for a hopeful
scholarship, is given directions to Whitewood by teacher, Alan Driscoll (Lee),
and she sets off with plans to get as much information that could be found. She
doesn’t realize this trip just might be her last! Driscoll just says for Nan to
mention his name, and, in doing so, she would have no trouble finding a room
and receiving hospitality. Is it any coincidence that the [horror] hotel of
Whitewood would be ran by Mrs. Newless (Patricia Jessel) who looks identical to
Lizzy Selwyn or that a supposed hitcher picked up by Nan would look like Selwyn’s
consort, Jethrow Keane (Valentine Dyall)? When gathered together, these two
suspicious folks talk of something near an open fire in the fireplace of the
Raven’s Inn, and it is clear plans for Nan seem to be in order. Lee had this
look on his face right before Nan leaves his office that just spells trouble.
Someone that enthusiastic in a subject (witchcraft) and looking rather pleased
when Nan is gung-ho about willingly going to a place near and dear to his
(obvious) dark heart raises suspicion itself. But onward Nan goes, seemingly unaware
of what she’s heading towards.
“He will be
pleased.”
Dennis Lotus is Nan’s brother, Richard Barlow, and when his sis remains unaccounted for the obvious thing to do is go and find her…but we know before he does this what exactly he’ll be in for, and what awaits him. Tom Naylor is Nan’s beau, Bill; he, too, obviously has a vested interest in finding her. Nan met a granddaughter, Patricia (Betta St. John), in Whitewood to a blind priest whose parish has long since been impoverished of a congregation. This priest, almost like lingering ghost, with only his face visible to Nan, warns her of getting out while she still can…you can sense that he knows all too well the evil that resides and remains in Whitewood. Patricia seems to be nervous when Nan mentions about why she’s in Whitewood, elusive when its history is brought up to her.
Dennis Lotus is Nan’s brother, Richard Barlow, and when his sis remains unaccounted for the obvious thing to do is go and find her…but we know before he does this what exactly he’ll be in for, and what awaits him. Tom Naylor is Nan’s beau, Bill; he, too, obviously has a vested interest in finding her. Nan met a granddaughter, Patricia (Betta St. John), in Whitewood to a blind priest whose parish has long since been impoverished of a congregation. This priest, almost like lingering ghost, with only his face visible to Nan, warns her of getting out while she still can…you can sense that he knows all too well the evil that resides and remains in Whitewood. Patricia seems to be nervous when Nan mentions about why she’s in Whitewood, elusive when its history is brought up to her.
Whitewood is a godsend to those who love their Gothic
chillers. The fog that conceals the ground, hovering at the knees, as much a
landmark of Whitewood as the deteriorating buildings and disheveled
graveyard that make up the town, all
leave me to marvel: this film’s main setting is the very example of why the
Gothic genre is my favorite. Despite dancing couples, in modern 60s dress, lost
to some jazz as Mrs. Newliss looks on with great interest to see if Nan will
leave her room and join them, knowing very well that this night isn’t about any
ordinary socializing.
Candlemass Eve, February 1st, is a ritualistic
ceremony is to take place, and Nan will be quite the invited guest. Whitewood
posits a gathering, as chants overheard outside begin to fill Nan’s room, with
her inquisitively following the peculiar sound in the basement below her. What
awaits her Nan couldn’t possibly imagine. This is where the film is unmerciful.
You might see the Psycho model here: journeying to her doom, the opening film’s
supposed lead exits the film early. Those who love her will go to find her,
with themselves learning all too well the danger that befell her.
About forty-five minutes in, Lee's true colors are revealed. Seeing him defend witchcraft against Nan's brother who opposed it with his science elevates his actions later, with motives unearthed, later unveiling he was born in Whitewood. This detail, previously unknown, significantly compounds on the tragedy of Nan Barlow. He must be stopped. Elizabeth Selwyn must be stopped.
What I like about this movie is just how the risks involved with getting Nan to Whitewood and her fate at the hands of the coven is their own doom. Those that are concerned with Nan's welfare, the brother and the boyfriend, aren't about to sit around idle as time passes with no answer from her. Lee shows the concern, as well, when the priest's granddaughter shows up at his office to return a locket to Nan's family. It is easy to see that invaders to Whitewood's continued existence is at risk.... Nan might have been a victim, but because her evil teacher chose her, he and the coven jeopardized their own idyll.
One little addition included I enjoy is Jethrow's residual haunt. The fog moves and seemingly has a life it's own. Sticking his hand out, just like that eerie hitchhiker on the Twilight Zone, he asks for a ride with Nan, then Patricia. He grins wickedly when mentioning that he only appears to a chosen few...he and Newliss are especially fond of the fact she's a descendant of those accursed. In two days the witch's sabbat; tthey might just have plans for Patricia.
I love how sinister and insidious Newliss and Jethrow are. The confidence in that laugh Newliss has, feeling that eternal life thanks to Ole Scratch would continue unabated. Can Nan's brother, not particularly a religious man as much as practical, truly stop the dead as they commence with their unholy misdeeds? Will Nan's beau be able to assist? Can help from the shadow of the cross be the coven's undoing?
Although the ending is never in doubt, the sight of robed Satanists burning at the image of a huge cross, plucked from the cemetery, is a sight, as is the moody finale at the strike of twelve, a knife on the verge of slicing Patricia's throat. Richard engulfed in robed devotees, trying to free himself. The basement with its thick webs and sacrificial table under the Raven's Inn. The foggy town with its scattered flock eyeballing intruders. No safeguard against possible peril...quite a gloomy and unwelcome piece of property, a strip of haunted land whose ghosts pretend to be ordinary when their town's presentation is anything but.
About forty-five minutes in, Lee's true colors are revealed. Seeing him defend witchcraft against Nan's brother who opposed it with his science elevates his actions later, with motives unearthed, later unveiling he was born in Whitewood. This detail, previously unknown, significantly compounds on the tragedy of Nan Barlow. He must be stopped. Elizabeth Selwyn must be stopped.
What I like about this movie is just how the risks involved with getting Nan to Whitewood and her fate at the hands of the coven is their own doom. Those that are concerned with Nan's welfare, the brother and the boyfriend, aren't about to sit around idle as time passes with no answer from her. Lee shows the concern, as well, when the priest's granddaughter shows up at his office to return a locket to Nan's family. It is easy to see that invaders to Whitewood's continued existence is at risk.... Nan might have been a victim, but because her evil teacher chose her, he and the coven jeopardized their own idyll.
One little addition included I enjoy is Jethrow's residual haunt. The fog moves and seemingly has a life it's own. Sticking his hand out, just like that eerie hitchhiker on the Twilight Zone, he asks for a ride with Nan, then Patricia. He grins wickedly when mentioning that he only appears to a chosen few...he and Newliss are especially fond of the fact she's a descendant of those accursed. In two days the witch's sabbat; tthey might just have plans for Patricia.
I love how sinister and insidious Newliss and Jethrow are. The confidence in that laugh Newliss has, feeling that eternal life thanks to Ole Scratch would continue unabated. Can Nan's brother, not particularly a religious man as much as practical, truly stop the dead as they commence with their unholy misdeeds? Will Nan's beau be able to assist? Can help from the shadow of the cross be the coven's undoing?
Although the ending is never in doubt, the sight of robed Satanists burning at the image of a huge cross, plucked from the cemetery, is a sight, as is the moody finale at the strike of twelve, a knife on the verge of slicing Patricia's throat. Richard engulfed in robed devotees, trying to free himself. The basement with its thick webs and sacrificial table under the Raven's Inn. The foggy town with its scattered flock eyeballing intruders. No safeguard against possible peril...quite a gloomy and unwelcome piece of property, a strip of haunted land whose ghosts pretend to be ordinary when their town's presentation is anything but.
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