by Sam Juliano
The following film review of “City of the Dead” is offered up as a “Halloween” special.
John Moxey’s 1961 low-budget City of the Dead is an eighty minute feature that in story, theme and execution could well have fit comfortably on Boris Karloff’s one-hour Thriller, which ran the same year and one beyond. It wouldn’t even seem out of place as one of the one hour Twilight Zones shown a few years later, or even as an installment of The Alfred Hitchcock Hour. Made on a shoe sting on studio lots, one could hardly anticipate the reputation it has enjoyed to this very day. Sure it features Christopher Lee in a relatively minor role, and offers up an early assignment for celebrated cinematographer Desmond Dickinson, but upon conception and subsequent release it wasn’t especially distinguished. Yet like fine wine, this fog enshrouded story about witchcraft set in the fictional “Whitewood” Massachusetts has risen in reputation and remains one of the very best films of his kind. It trumps the very well made but didactic Burn Witch Burn, and it isn’t at all out of place to speak of it when recalling Mario Bava’s masterpiece Black Sunday, another monochrome gem made the same year as the British City of the Dead. The story device of the young heroine being killed off early in the film was apparently lifted from Hitchcock’s Psycho,
Known in America by a more sensational title, Horror Hotel, the film opens with a stunning prologue, set during the Puritan era in late seventeenth century Massachusetts. A young woman named Elizabeth Selwyn (played by Patricia Jessel) is burned at the stake for “consorting with the devil.” The hostile crowd cheers on her demise, while the woman appeals unsuccessfully to another Puritan named Jethro Keane to help her. Keane, fearing for his own life remains silent, but privately urges Lucifer to assist her when a cloak of darkness suddenly descends to announce his arrival. Selwyn boasts to the crowd that she has made her pact, before she is roasted on the pyre. The scene then segues into the present at the home of Professor Alan Driscoll (Lee) who is highly respected by a young blonde beauty, Nan Barlow (played by Venetia Stevenson, the daughter of the director of Mary Poppins), who informs him privately that she wishes to do her research at a place where witchcraft once flourished. Driscoll tells her he knows just the place – a town “off the beacon track” named Whitewood, and writes down the name of the “Raven’s Inn,” advising her to speak to the woman running the place, a “Mrs. Newless.”
Ever studious and inquisitive, and not bothered by the strong objections of his brother Richard and boyfriend Bill, Nan drives up, incurring a stern warning from a gatekeeper to turn back, but she presses ahead. She picks up a hitchhiker in a spooky patch of fog, and to her satisfaction he tells her he too is headed to Whitewood. He seemingly disappears in a wisp of smoke when Nan looks over to the passenger’s side, but she continues her resolve, meeting up with the seemingly friendly innkeeper. She is at first resistant to offer her a room, but quickly changes her tune when Nan mentions Driscoll’s name. She is escorted to room off the lobby. Nan tours the town, only to see some sinister faces in the fog, though she attempts to enter a seemingly deserted parish only to be barred by an old blind priest. When she tells him she is there to study witchcraft he ominously tells her to leave the town immediately before it is too late. The young woman finds the parish bookstore open and meets a woman about her own age named Patricia (Beta St. John) who tells her that the priest she just spoke to is her grandfather. She loans Nan a rare hardcover volume on witchcraft, and tells her she heard about Alan Driscoll from her grandfather.
She returns to the Inn and proceeds to begin reading the book. When Newless stops in her room she reads to the innkeeper about the satanic rituals practiced by the witches, which includes the sacrifice of a young woman twice a year, one for “Candlemass Eve” and the other for “The Witches’ Sabbath.” She asked Newless about Elizabeth Selwyn, but after some initual almost proud agreement she tells Nan she never heard anything about the “hour of thirteen” and that to the best of her knowledge there are only twelve hours on a clock. Nan prepares to join the boarders that Newless says are there for a celebration on the dance floor off the lobby. Nan loses her locket and informs Newless, who promises her she will inquire with the deaf and dumb female maid Lotte in the morning. She is stunned when Newless tells her that all the guests have now gone to “services.” Nan returns to her room, and is regaled by the loud sound of her shade unwinding to yield a floor key. She opens a draw to find a dead bird with an arrow through it. Both of these oddities are the signs that she is marked for sacrifice. She used the key access an underground tunnel, where she is promptly abducted by two hooded men, who bring her to lie flat in front of Newless, who holds a large knife, proudly proclaiming herself as Elizabeth Selwyn. Nan is stabbed to death while the robed congregation pray to Satan. Richard and Bill head up separately to Whitewood. Bill is ambushed by an apparition of Sewyn and is seriously injured in the accident she causes. Richard confronts Driscoll, who gives him the address of the Raven’s Inn. Richard drives up, checks out the place and meets Newless who tells him Nan left without paying her tab. Richard takes her room and like his sister ventures out in the town, meeting Patricia, who tells him she met Nan and though her a very fine young woman. With The Witches’ Sabbath approaching Patricia is now marked for sacrifice, and finds the same dead bird in her drawer as Nan did.
In one of the most hair raising final scenes in any horror film, the witches abduct Patricia and plan to sacrifice her. She is brought to the graveyard and positioned to be stabbed to death, but not until the hour of thirteen. The delay allows a badly injured Bill to arrive carrying a cross, an instrument he uses to destroy many of the witches. The revelation is uncovered that Mrs. Newless is really Elizabeth Selwyn, and her charred face stands hideously under the plaque that documents the witches’ demise. Milton Subotsky and George Baxt brought the British horror studio Amicus to prominence in the 60’s and 70’s, but this early effort showed they could create a corking good thriller. Smoke machines help create the intoxicating sets that helped create a tour de force of atmospherics, transporting the viewer to a forbidden town that is occupied a few days a year by devil worshipers. Jessel’s creepy performance is the film’s most noteworthy though Lee, Stevenson and St. John are all very fine. Visually distinct and narratively unique, City of the Dead is one of the witchcraft cinema’s most exceptional works.
Saying that this film has “atmosphere” is an understatement. I can’t even count how many times I’ve watched it over the years. I love that prologue from the Puritan era.
Great review Sam!
Once again thrilled we are on the same page Frank! And I fully agree! Thanks for the kind words. This review was written very quickly last night, and I regret I couldn’t do better with it.
Man, now you are talking! One of my favorite horror films from that period. I love Lee in it, but agree with you that it essentially Jessel’s film. The black and white is stunning.
Right on Ricky! Great to see another fan! Thank you.
Sergio Angelini put me onto this one with his review some months ago. Quite good.
Thanks so very much Todd! I must check out Sergio’s review!!
What a thrill to see a review of this film sitting at the site today. I’ve seen it numerous times, and have never failed to marvel at how well they create atmosphere. The sets are striking and Dickinson’s black and white photography work miracles in the studio. It is always wonderful when a project is approached with very modest goals, and the long term investment pays off as well as this one has done. I have to agree that it is one of the best films about witchcraft. Terrific review, Sam!
Peter, I am heartened to hear all this! Yes Desmond Dickinson’s cinematography is the one element that unites everyone in regards to this film. Yes I’d have to agree that this films has held up marvelously over the years. Thanks for the very kind words my friend.
Will not be much Halloween here tonight 4″ of rain and lots of wind already this morning – started last night so I am not sure of the total.
Our new neighborhood has trick or treaters… I bought a bowl of candy but I do not think they will venture out. Storm goes through tomorrow and we have been on a flood watch for the past 10 hours. Hope you have a scary Halloween out your way!
Patricia, I’m very sorry to hear that. Hopefully that forecast didn’t play itself out quite the way you are fearing. We were very lucky and enjoyed some fantastic weather in the high 60’s. We didn’t have quite the same trick or treater onslaught like we had last year, but we still had plenty. My kids did the scare show quite well as you can see! Ha. Thanks again my friend!
Need to add this one to my queue. That production design looks delicious.
Oh it certainly is Brian! Thank you!
Hey, Sam: Just came across your blog. I’m a huge fan of “City of the Dead” (Horror Hotel) and I really enjoyed your review. Great job!
Thanks so much Rob! Great to hear we are in full agreement on this horror gem, one I’ve loved since my childhood when it aired many times over. I’ll be checking out your blog too!
My dad had me watch on channel 11 45 yrs ago. I recently watched it on YouTube…..just as creepy now. Excellent to watch