Hotel Fear (1978) User Reviews

Starring Luc Merenda's Arse

[Bezenby · 7/10 · 5 September 2018]

This is a kind of hard to define film, which is set during World War Two, and is more of a mystery with elements of Eurocrime that decides to turn into a giallo right at the very end.

Rosa has got a life you wouldn't wish for. Her father is off fighting in the war somewhere, and Rosa has to help out at the hotel her mother runs that is host to some of the worst guests ever. For one, there's the smarmy, chain smoking gigolo (Luc Merenda) who is really pro-active in adding Rosa to his list of conquests, much to the annoyance of his older girlfriend. Then there's the man whose family were killed in a bombing raid, who also seems to have his eye on Rosa. There's a pimp and his two hookers who aren't too fussy on who drops in on them. Plus, there's a mysterious man in the attic (Francisco Rabal) who is hiding from unknown persons.

Rosa's mother is aware of how awful the guests are, but can't get rid of them because they are the only paying guests they have, and there's a war going so Italy isn't exactly the current holiday destination. Constantly trying to avoid Merenda in particular (she has to lock her door at night and he asks her to look through the keyhole for a surprise. Thankfully, she doesn't), the plot thickens as Merenda's girlfriend has something he really needs, two shifty looking guys move into the hotel, and Rosa's mother falls down a flight of stairs and dies, leaving Rosa no protection from the weird guests...

Just like his earlier The Perfume of The Lady In Black, Francesco Barili gives us a something full of mystery that doesn't let on to the audience what's actually happening until near the end of the film, and just like Perfume, this one comes wrapped in strange visuals with an emphasis on violets, pinks and purples. Even though this is mainly thought of as a giallo, no one is murdered until well over an hour has passed, with the bulk of the film detailing Rosa's struggle with what is basically a hotel full of Harvey Weinstiens. That said, it kind of felt like Barili didn't quite know how to tie up all those loose ends.

Luc Merenda is the standout here as the absolutely vile gigolo with the pencil moustache. He spends about the half the film either naked or half naked as he attempts, and finally succeeds in raping Rosa (the grimmest part of the film by far, but it was part of the plot as it opens up the giallo part of the film. Merenda shows once again that he's got the versatility to plays other roles than the usual crime films he ends up in.

Decent, Slow Burning Thriller

[jrd_73 · 7/10 · 21 July 2012]

Pensione Paura (Fear Hotel on the print I saw) is a decent, slow-burning thriller.

Set toward the end of WWII, Leonora Fani plays Rosa, a girl living in a hotel owned by her mother. Her father is away in the war and Rosa writes letters she cannot send to him. The hotel's guests are a strange and unlikeable group hiding out from the war. There is a pimp with his two prostitutes, a widower with an unhealthy fixation on Rosa, an older rich woman with a younger lover named Rudolph (Luc Merenda). This gigolo has his eyes on Rosa. In addition, hidden away in an upstairs room is the lover of Rosa's mother. He deserted the war and is rumored to have caused some tragedy to his fellow soldiers. Right from the beginning, there is a sexual tension between these guests and Rosa. Then, Rosa's mother dies in an accident. Rosa is left alone to run the hotel with only one drunken, unhelpful servant. The viewer knows something bad is going to happen. Further suspense comes with the arrival of two last guests, both men dressed in black, one carrying a switchblade. Both have the look of professional killers. Have they came for the lover hidden away or for some other reason?

Fear Hotel does a surprisingly good job at building a tense atmosphere. Little happens for most of the movie but, thanks to the actors and the evocative cinematography, the viewer keeps watching. However, there are some problems. The film's attempt to become a murder mystery in the last third does not work. The finale, while appropriately grim, has a denouncement that did not work for this viewer.

Having acknowledged these, Fear Hotel was better than expected. Leonora Fani, the attractive star of Kyra (aka House by the Edge of the Lake), was the reason I watched Fear Hotel. In addition to her physical charms, Fani convinces as an innocent teenager, even though she was in her early twenties at the time of filming.

What is it trying to be?

[BA_Harrison · 6/10 · 24 February 2021]

Neither fish nor foul, Hotel Fear (AKA Pensione Paura) cannot be easily categorised as a thriller or a giallo, and barely passes for horror. It touches on each genre, but is never content to stick with one style. Just as the film seems to be hitting a groove, it turns into something else. Some people seem to be more than happy with this modal ephemerality (my 'pretentious made-up phrase of the day'), but I found the film's lack of focus rather frustrating (the result of too many writers, perhaps) .

Set towards the end of WWII, the film stars Leonora Fani as teenager Rosa, who works in her mother's hotel while trying to keep their undesirable guests at arm's length. Currently staying in the hotel are a widower who likes to tell people about his dead family, playboy Rudolph (Luc Merenda) and his current sugar mummy (Jole Fierro), and a man who spends all of his time with two prostitutes. When his partner isn't around (and, often, even when she is), Rudolph tries his luck with Rosa, promising to take her away from the hotel and show her the world. Rosa isn't interested: she's staying put, waiting for the day that her father returns from the war.

Much of the first hour is build up i.e. not a lot of interest happens. We learn that Rosa's mother Marta (Lidia Biondi) has a lover, Alfredo (Francisco Rabal), who is hiding in the hotel (from the authorities, I think). We learn that Rudolph's lover has a stash of diamonds with her. Local lad Guido declares his love for Rosa. And there's an air raid. None of this is particularly engrossing. Even the discovery of Marta with a broken neck seems to pass without consequence: it would appear to be a case of murder, but no police come to investigate, the event merely serving as an excuse to leave fragile Rosa on her own, and thereby kickstart her loss of sanity (the film also touches on Repulsion-style psycho-drama).

Things look set to get more interesting with the arrival of two mysterious men (one of whom owns a switchblade), who it transpires are there to help Rudolph to escape to Switzerland, in exchange for his lover's diamonds (she knows nothing about the arrangement). Sadly, the film remains just as aimless, adding some sleaze into the mix with the rape of Rosa by Rudolph, and the consequent double murder of Rudolph and his lover by an unseen assailant (hence, the giallo comparisons). Then the film becomes more of a thriller, as Rosa discovers the bodies and tries to hide them from the other guests, and Rudolph's business partners turn nasty, demanding to know where the diamonds are.

The final act sees a gradual increase in preposterousness: Rosa escapes from the two men, but runs into the widower and the man with the prostitutes, who try to force her to take part in an orgy. To make matters worse, the men looking for the sparklers show up. Then, in an unexpected plot twist, another man appears, brandishing a machine gun, and shoots everyone except for Rosa, who assumes that her saviour is daddy, back from the war. In fact, he is a friend of her father (who is dead), come to care for Rosa and kill Alfredo, who - and this bit is very unclear - was somehow responsible for the death of his comrades.

The film closes with her father's friend shooting Alfredo, Rosa revealing that it was she who killed Rudolph and his lover, and Rosa shooting her father's friend (confused yet?), after which the girl returns to the hotel to write another letter to dear dead daddy. Yup, she's finally lost what few marbles she had left!

5.5/10, rounded up to 6 for IMDb. It's not boring, despite the gradual approach, and there are some stylish touches, but I just don't get what director Francesco Barilli's intention was.

Definitely worth a look

[lazarillo · 8 August 2010]

This an interesting giallo from the director of "Perfume of the Lady in Black". It has a period World War II setting and greatly resembles the Salvatore Samperi film "Scandalo". The story centers on a mother (Lidia Bondi) and daughter (Leanora Fani), who are trying to run a pensione (hotel) after their husband/father has disappeared while fighting in the war. The mother is hiding her army-deserter lover (Francisco Rabal) in the attic while Fascist soldiers are encamped nearby. Meanwhile, a perverted couple staying at the hotel, older woman (Jolene Fierro) and her studly younger lover (Luc Merenda), are conspiring to get their slimy hands on the teenage daughter. This latter subplot is especially reminiscent of "Scandalo", but where the mother was the main protagonist there, the daughter is here, and this eventually takes a decidedly gialloesque turn with a series of mysterious murders. The ending is also quite different (and actually kind of ridiculous).

The historical setting makes this somewhat unique as a giallo, but it's quite possible this movie was merely aping "Scandalo" there. It's principal strengths though are definitely Luc Merenda and Leanora Fani, who also appeared together in "The Last Round". They have similar roles here as, respectively, a handsome but vicious brute and his young, seemingly vulnerable victim. Merenda usually rates below other handome, more famous Italian leading men like Franco Nero (who was in "Scandalo") and Fabio Testi, but he was actually better than either when it came to playing an out-and-out villain. Leanora Fani was similarly underrated as an actress. She was one of the many Italian "lolitas" of the era, but unlike a lot of the others (Gloria Guida, Eleanora Giorgi, etc.) she actually looked like a teenage girl (even though she wasn't), and she generally specialized in playing vulnerable victims as opposed to predatory vixens.

Francisco Barilli does a good job of creating a dark, moody atmosphere. The off-the-wall ending topedoes any real pretensions this movie might have had to be a serious historical drama like "Scandalo", but it certainly succeeds as a giallo (where bizarre endings are common). I actually thought this was better than Barilli's somewhat overrated "Perfume of the Lady in Black". It's definitely worth a look.

Obscure Giallo-inspired fun

[Tender-Flesh · 7/10 · 20 July 2012]

Hat tip to Giallo Trailers for turning me on to this title. It's not listed in any of the usual "must see" giallo reviews, so I would have missed out otherwise. I searched for this title for some time and only recently found, after having forgotten about it for a time, that it was now available on Italian DVD with no subtitles. Even then, I couldn't find it at my usual sources.

However, some kind soul uploaded the entire movie and I watched it last night. While not a Giallo masterwork, it is a very good little film. Creepy atmosphere, little blood, great setting. If you don't speak a lick of Italian, I still think you can follow the story pretty well.

Circa 1945, in a small Italian village, a mom and daughter run an old rundown boarding house, with peeling plaster and bricked windows a plenty, somewhat isolated from the town. I was immediately struck by the Agatha Christie-feel of the plot and scenes similar to those being churned out in the 70's. The daughter, Rosa, is amazingly beautiful and innocent, handling the role very well in spite of some considerable nudity. Seriously, the movie is rife with cunnilingus, which is unusual to say the least. There is also a rape scene, and you see more male buttocks that you might like. The rogue's gallery of characters include a drunk man-servant, a balding, lonely piano player, a Burt Reynolds / Antonio Banderas type and his older wife, a horny fat guy and his girlfriends. You have to be prepared for nothing to happen for the first hour. This isn't to say you'll be bored. Art house cinema fans will dig it, but it doesn't beat you over the head with its intentions.

Also, there is a man hiding away in the mother's room. She brings him food every night after everyone is supposed to be asleep. I do feel a little guilty about writing a review for a movie whose dialogue I couldn't truly follow, so if my guesses at character motivation are a little off, forgive me. I think the man is the mother's lover whom she's taken in while her husband is fighting in the war.

The mom dies in an "accident" which leaves the comely Rosa to run the house. This proves to be rather difficult since now that her mother is dead, every man in the house openly lusts after her. And that's not all that's afoot. There's a shadowy killer stalking the corridors and dripping staircases. However, if you are looking for that to be the central theme, you might be disappointed. It takes a backseat to the setting and character development.

Enter a few gangsters who stir things up. A wandering Rosa starts hearing and seeing things she shouldn't, which helps the story along. I made note of several instances where I was reminded of Suspiria, mainly with color use and voyeuristic POV shots, plus a few eyeball close ups. The score occasionally picks up and dazzles.

My suggestion is that you only see this if you are into Italian art house cult cinema or giallo films. If you are looking for a straight up stalking razor killer with high body counts, look elsewhere. Oh, there are lots of deaths, but not in the giallo style, shall we say.

HOTEL OF FEAR (Francesco Barilli, 1977) ***

[Bunuel1976 · 7/10 · 26 August 2008]

This is the second film I've watched from little-known director Barilli; like the first – the slightly superior THE PERFUME OF THE LADY IN BLACK (1974) – it can be labeled an arty horror film…though, frankly, there's much more of the former than the latter this time around! In fact, it's set during World War II in a downtrodden Italian hotel run by a woman (whose husband is a flyer) and her innocent young daughter.

Apart from the somewhat wasted Francisco Rabal (as a partisan informer hiding out in the titular hotel and a paramour of its owner), the casting looks rather unimpressive on paper but, surprisingly, we get a couple of excellent performances from the two nominal leads – 23-year-old Leonora Fani (as the harassed daughter who is an object of desire to several of the hotel's guests!) and an unheralded sleazy turn from usual 'good guy' Luc Merenda (as a shady stud living off a rich mature keeper). Both Merenda and Fani are involved in several nude scenes and, in the latter's case, looking much younger than her true age makes for some disturbing viewing (particularly her rape by Merenda himself – witnessed by the latter's mistress and by which she's visibly aroused!).

The film has a memorably sinister soundtrack by one Adolfo Waitzman which may best be suited to accompany a bona-fide giallo, but it certainly elevates the end product considerably; the composer's name didn't register with me at first, but a quick check on his IMDb resume' soon revealed him to also be the man behind the music for (at least) two other significant "Euro-Cult" efforts – Jess Franco's THE OTHER SIDE OF THE MIRROR (1973) and Claudio Guerin Hill's A BELL FORM HELL (1973). Also notable in PENSIONE PAURA, the film's original title, is the atmospheric lighting – where the adoption of various color gels for disquieting effect was, in all probability, directly influenced by Dario Argento' contemporaneous classic of supernatural horror SUSPIRIA (1977).

As with most efforts from this genre, the major liability would have to be its deliberate pacing – however, since the film is a mood-piece first and foremost, I guess it was to be expected and, well, unavoidable. Still, the shock moments (when they come) certainly deliver the goods – with the most effective being the double axe-murder of Merenda and his lover (with its slimy aftermath), and the last-minute rescue of the heroine (about to be victimized yet again) which turns into a machine-gun massacre of the hotel's entire guest list by an as-yet unidentified character (soon revealed to be a partisan companion of Fani's reportedly deceased father). The latter scene actually leads immediately into the unexpected and ambiguous conclusion – which seems to be a particular thorn with most viewers discussing the film on an Italian forum; then again, a happy ending would have been highly unlikely for an essentially somber piece such as this!

Until the fairly recent Italian DVD release, this was considered a very rare item even on its home turf; hopefully, the film's reputation will soar in future…even though it's one the director himself seems not to like much at all (undeservedly, if you ask me)!

Check out anytime you like, but you can never leave.

[Coventry · 6/10 · 8 January 2008]

In all honesty I right away have to admit this won't exactly become my most informative and insightful user-comment, as I watched "Pensione Paura" in its original Italian language print without any subtitles or dubbing whatsoever. Throughout several years of watching Italian films I picked up a few words here and there, especially horror-related ones, but of course not nearly enough to fully comprehend the convoluted plot and structure of a typical Giallo. This should also give you an idea of how rare this film is; as I literally searched all over the Internet for an original VHS copy or at least a halfway decent bootleg DVD, and all I could find was this crummy, ancient and exclusively Italian version. Luckily enough a genuine Italian 70's Giallo has plenty more to offer than just plot-complexity, and since the same guy who brought us "The Perfume of the Lady in Black" also directed this "Pensione Paura", I hoped to see an enormously stylish & visually impressive effort with gritty undertones and uncanny musical guidance. Well okay, the film didn't nearly turn out as enchanting as the aforementioned "Perfume…" but multiple scenes and set pieces are beautiful to look at and, even though I don't understand one iota of the dialogs, you can easily tell the subject matter is compelling. "Pensione Paura" translates as guest house of fear, and that's pretty much the most accurate description I can give. Rosa is timid and frigid young girl who helps her mother running the family pension whilst her father is serving in WWII. The place is filled with sleazy and ill-natured guests, including a married man who constantly attempts to abuse Rosa and the mother's secret lover who lives hidden away in the attic. When the mother is found murdered one morning, Rosa remains behind unprotected and surrounded by people with wicked intentions. She gradually loses her sanity, but just when the guests collectively plot to involve her in a giant orgy a masked and heavily armed man appears to the scene. I realize this is all rather vague, but it's better than giving false plot-information. "Pensione Paura" sadly doesn't feature many bloodily staged murder sequences or graphic sleaze, but the atmosphere is noticeably ominous and grim. Adolfo Waitzman's score is terrific and the cast features a couple of familiar faces, like Luc Merenda of "The Violent Professionals" and "Torso" and Francisco Rabal who recently (and just before passing away) starred in Stuart Gordon's "Dagon". This is a very interesting film, to say the least, and if anyone knows of an available copy with English subtitles please mail me ;)

It's a mixed bag

[dopefishie · 5/10 · 27 September 2021]

It feels like two different movies. The first 2/3 is an incredible film! Leonora Fani is great as the lead. The supporting cast play sleazy very well. Damn near everyone here is a sleazy monster. The is incredible tension. Great character moments. A real mystery afoot. And it's all directed and filmed with incredible style.

In the last third of the film, it all falls apart. It abandons everything that came before it and blurs the lines between fantasy and reality. Even worse, it squanders all the intrigue that had come before. Barilli is a skillful director. I just wish he could have gotten his hands on a good script.

Mezmerizing, Nightmarish and Brilliantly Set Italian Gem

[Witchfinder-General-666 · 9/10 · 17 December 2010]

Francesco Barilli had already proved a great talent for creating a nightmarish atmosphere with his most famous film "Il Profumo Della Signora in Nero" (1974), and while that film is a true gem I liked his second Giallo, "Pensione Paura" of 1977 even more. With only few murders and an obscure storyline that is not mainly concerned with a murder series, "Pensione Paura" is no typical example for the Giallo-genre, but an incredibly moody one. Set in a guest house in rural Italy in the final stages of WW2, "Pensione Paura" maintains a thick and nightmarish atmosphere that makes the film seem like a gloomy fever dream at times. Beautiful yet incredibly eerie, the film oozes a constant atmosphere of doom that is intensified by beyond demented characters and a magnificent score that stands out even in the good company of Italian genre soundtracks.

When World War 2 nears its end, Rosa (Leonora Fani) and her mother Marta (Lidia Biondi) are keeping their eerie old guest-house open for a bunch of demented guests, among them the sleazy and sinister playboy Rodolfo (Luc Merenda), as well as Marta's lover (Francisco Rabal) who is hiding out from someone. Rosa, who is eagerly awaiting her father's return from the war is writing letters to him on a daily basis... Giving too much information about the plot would spoil a part, which is why my plot description ends here. As in any Giallo, of course, there is a series of murders involved, and the beautifully but decaying old rural guest-house is the eeriest setting imaginable. Leonora Fani is great in her leading role of the innocent teenage girl, a character it is easy to feel and be scared for. The rest of the characters are almost entirely demented, and the performances are great. Regular Italian cult leading-man Luc Merenda ("Torso", "Milano Trema", "L'Uomo Senza Memoria",...) is brilliantly sinister in his sleaziest role as the pencil-mustached womanizer Rodolfo, who has an older girlfriend but is also pursuing the innocent young Martha. The great Spanish character actor Francisco Rabal ("Dagon", "Nightmare City",...) is equally great.

"Pensione Paura" is a fantastic example for the atmospheric power of Italian Horror film. Without showing anything explicitly 'horrible' in the first half, the film maintains an eerily beautiful and uniquely nightmarish atmosphere of pure gloom from the very beginning to the very end. The remote rural setting with the gloomy guest-house and the nearby picturesque village create a menacing mood of seclusion and being lost. The brilliant score by Adolfo Waitzmann must be one of the most mesmerizing ever. While the film is not very gory by Italian Horror standards, it is completely uncompromising. I am not sure why Francesco Barilli regrettably has not directed many more films that were released in cinemas, a possible explanation could lie in the lack of gory and spectacular murders in comparison to the films other Italian Horror/Giallo masters. Overall, "Pensione Paura" is a must-see for anyone interested in Eurohorror, Giallo and Cult-Cinema. Very Highly Recommended!

Another left-of-centre 70's Italian thriller

[Red-Barracuda · 6/10 · 8 March 2018]

This giallo is a film which has a good reputation despite its relative obscurity. I, therefore, had high expectations going into this one and have to say I came out of it a little disappointed. Firstly, it is a little questionable whether this truly qualifies as a giallo at all. It might just be me admittedly but I tend to think that films of this sub-genre need to be set in contemporary times (at the time of filming), whereas this feature has an atypical period setting. This simple detail gives it a different tone from other typical gialli, meaning it feels like a film somewhat apart from the others. Set in an Italian hotel during the latter stages of the Second World War, it focuses on a teenage girl who helps her mother run the establishment as she waits for her father to return from the front. Meanwhile, her mother hides a traitor in the attic, who is her secret lover, and the hotel is otherwise filled with an assortment of guests who could charitably be described as oddballs and more honestly be categorised as sleaze-bags, with all of them seeming to be using the hotel as a means of hiding from the horrors of the war. Murder, sexual assault and dark secrets soon follow.

This one was directed by Francesco Barilli, who was responsible for the earlier The Perfume of the Lady in Black (1974), which was a more traditional giallo which remains one of the most visually beautiful in the genre. Pensione Paura is definitely less impressive for me. It is very slow to get going with little actually happening for a long time, so much so it really had me wondering just where exactly this one was going. The murder/mystery side of the story almost felt tagged on in order to tie it in with others in giallo category, as a means of marketing it easier. But this side of the story is too under-developed to have much impact both in terms of the murders themselves which are either off-screen or very brief and also the mystery aspect which only really is detailed very late on and makes little sense. Although admittedly, the senseless part is one thing that does tie this one in with its giallo brethren, as does its cast of unlikable characters. By no means is this a bad film, it's just one whose reputation suggests it will add up to more. It's odd ambiance and hotel setting reminded me a little of the earlier giallo Death Falls Lightly (1972), which was a film which improved on a re-watch; perhaps this one will be the same.

Italian/Spanish co-production with thrills, chills, grisly killings and some Giallo elements

[ma-cortes · 5/10 · 18 September 2023]

Set during World War II, a hotel, once a spa, on the shores of a lake near the Italian-Swiss border. Miss Rosa (Leonora Fani) , daughter of the hotel owners, helps her mother (Lidia Biondi) with daily assignments. Teenage Rosa and her mother run a hotel in the Italian countryside, the mother mourning over the allegedly death of the dead father, but the daughter thinks he'll back. When the mother dies under mysterious circumstances, Rosa finds herself at mercy of her sex-crazed, sleaze guests, but not before a hooded assailant, lurking in the shadows of the hotel, starts killing off each and everyone that tries to harm Rosa. There are few clients and the work is not excessive, a circumstance that Julia takes advantage of to study. There's a braggart and trickster gigolo called Rodolfo (Luc Merenda) and his mature lover, a pimp and his two hookers, a coarse and cowardly man (Francisco Rabal) living hidden in an attic of the hotel, hiding from his colleagues, whom he betrayed when he was still captain of the Italian air force. And a man (José Maria Prada) traumatized by the death of his family who along with the playboy named Rodolfo harass the attractive Rosa on a daily basis. An older woman who loves Rodolfo also lives there. He agrees to sleep with her because he hopes to get her jewelry, while she feels sickly jealous of Rosa. Likewise, a couple of revelers and two prostitute sisters are part of the clientele. The main question of the film is to find out if the young girl's father will return to save his daughter and take revenge on unscrupulous guests.

A strange and somewhat claustrophobic film with a lot of sleaziness and nudism, mainly set in the pension of the title, thus the original title was 'Pensione Paura'. First of all, it should be noted that this is not a horror film or a giallo per se. The film contains thrills, chills, drama, plot twists and a lot of murders. The film develops itself little by little with a large and varied cast of strange characters whom we meet successively, but the majority of them are crazy, abnormal or sordid roles. Stars the teen Leonora Fani who isn't bad actress, she was one of the precocious actresses who played teenage roles that were usually tempted by older seducers, she belonged to a large group among which were Jenny Tamburi, Eleonora Giorgi, Silvia Dionisio, Gloria Guida, Lilli Carati Ely Galleani, Debra Berger, all of whom were usually regulars in the 'Sex Comedy' genre and in some sordid horror films. So Leonora Fani interpreted various films of these genres, such as: Nené, Bestialidad, Diabla, La desvergonzada, Born for Hell, Calde labbra. The film packs some nude scenes where it is possible to appreciate the beautiful body of the protagonist, played by Leonora Fani - who would later participate in the creepy, gory and quite explicit "Giallo a Venezia" (Mario Landi, 1979). Here she's an usettling adolescent named Rosa (or Julia in the Spanish version), the prototypical "girl in trouble." Leonora Fani was already 23 years old during the filming of "Pensione paura", but by retaining her characteristic fragile adolescent appearance she is ideal for her role. Luc Merenda, who plays the abuser playboy Rodolfo, also strips naked for the cameras. Merenda, who on this occasion is somewhat difficult to recognize because of his mustache and hairstyle, was a regular actor in polizzieschi of the time such as "Kidnap Syndicate" (1975), "Il polizziotto é marcio" (1974) - both by Fernando di Leo - or "Il conto é chiuso" (Stelvio Massi, 1976), Giallo as Torso - Violencia carnal (Sergio Martino, 1973) and Spaghetti Western as They Still Call Me Amen (Alfio Catabiano, 1973) . Being an Italian/Spanish here appears actors regularly in Italy cinema: Luc Merenda, Lidia Biondi and Spain actors such as Francisco Rabal, Maximo Valverde or José Maria Prada. The motion pictue was regular but professionally directed by Francesco Barilli who made a few films (Il profumo della signora in nero (1974)) with no much success. Rating: 5.5/10. Passable and acceptable, though some tiring and boring .

Long neglected Gothic Giallo masterpiece from maestro Francesco Barilli

[Weirdling_Wolf · 8/10 · 23 January 2014]

This long neglected, erotically charged Gothic-singed Giallo from Francesco Barilli is not only entirely undeserving of such ignominious treatment, its recent HD restoration was long overdue, and richly deserved! In addition, I have noticed that Luc Merenda is frequently given short shrift as an actor, which is an opinion I resolutely do not share, but even his harshest sceptics might need to momentarily retract their claws, as devilishly handsome, charismatic Merenda nastily manifests a strikingly sordid performance as the unleavened sleazebag Lothario Rodolfo, a super-skeezer abuser, rakishly replete with a slimline scumbag 'tash and oily, slick-backed barnet! Much of Barilli's deliciously voyeuristic, sin-suffused chiller's oppressive atmosphere is optimised by the fantastic score, maestro Adolfo Waitzman creates a subtle sense of unease that complements the increasingly debased activities within this benighted locale. I adore Francesco Barilli's stylish, darkly degenerated, enjoyably off-kilter thriller 'Pensione Paura', and I am quite sure that this needlessly obscure Italian thriller will soon find a great number of fresh admirers, especially since it towers above much of the tepidly recycled terror tedium produced today.

Boring and erratic movie...

[paul_haakonsen · 2/10 · 22 September 2023]

I stumbled upon the 1978 Italian movie "Pensione Paura" (aka "Hotel Fear") here in 2023, by random chance. And with it being a horror movie that I hadn't already seen, of course I opted to give the movie a chance.

The storyline in "Pensione Paura" failed to capture my interest, much less keep me entertained. The whole script felt random, erratic and chaotic, and there wasn't a particularly clear red thread throughout the course of the movie. And that made for a very disjointed viewing experience, and it was quite a struggle to sit through what writers Barbara Alberti, Amedeo Pagani, Francesco Barilli, Francisco Ariza and José Gutiérrez Maesso delivered.

Needless to say that my exposure to the 1970s Italian cinema is very, very limited, so I wasn't familiar with the cast ensemble in the movie. However, I didn't really find much enjoyment in the acting performances either, because the storyline was utter rubbish.

Visually then "Pensione Paura" offered nothing of any interest.

My rating of director Francesco Barilli's 1978 movie "Pensione Paura" lands on a two out of ten stars.

Magical

[BandSAboutMovies · 8/10 · 20 February 2020]

Four years after directing The Perfume of the Lady in Black, Francesco Barilli returned to direct this film. He had wanted to make a movie called L'Occhio, which had a very high budget, but producer Tommaso Dazzi had a treatment for this movie and, well, Barilli needed the money. An arrangement like that led to arguments on set, as the director and producer had very different ideas of the movie that they wanted to make.

During World War II, Rosa (Leonora Fani, who starred in The House at the Edge of the Park and the George Eastman film Dog Lay Afternoon which sounds like the scummiest or weirdest affair in, well, ever - which means I'm on the hunt for it) and her mother mourn the loss of Rosa's father while running a hotel. After her mother dies mysteriously, Rosa is constantly under assault from the insane guests, who are all murdered by a masked killer. Is it her dead father? Is this a gothic romance? Is it a giallo? Is it an exploitation movie? Who can say!

With a color template influenced by Suspiria and a predilection for art, this is one strange movie. I'd compare it to Footprints on the Moon, a giallo that really isn't a giallo and just has that label because it's difficult to imagine what the hell it really is. It's also known as Hotel Fear, which is a fine title for it.

Barilli also wrote Sacrifice! for Umberto Lenzi and Who Saw Her Die? for Alan Lado. He's still making movies - mostly documentaries - but I really wish he'd made more of these uncategorizable fantasy films. Is embracing violence part of growing from a girl to a woman? Is all male sexuality inherently brutal? Is Rosa becoming her dad or protected by him? And hey - isn't it great that this movie gives you no real answers?

I mean - if you've been watching giallo long enough, you're probably ready for a movie that punches your senses in the eyes and then doesn't care to tell you what it all really means. In that way, the giallo prepares us for real life way more than any other genre. We never get all the answers and are always on the edge, lingering near madness, despair and death. Entertaining, no?

Wonderful and totally overlooked Italian giallo.

[HumanoidOfFlesh · 9/10 · 15 July 2008]

"Pensione Paura" is a brilliant and a little bit surreal giallo from director Francesco Barilli,whose "Perfume of the Lady in Black" was one of the genre's most haunting and original films.The film takes place in 1945 somewhere near a lake.Some guests are staying in the "Pension of the Sirene" led by Marta with the help of her daughter Rose.The girl knows that the mother has a lover hidden away in the attic.She waits for the return of her soldier father and cultivates a simple friendship with the guide,the grandson of the parish priest.In the pension stays also a violent criminal named Rodolfo who lays a trap on Rose.One day Marta is murdered and the girl is assaulted and raped by Rodolfo and his companion.Both are dispatched by a mysterious black-gloved killer..."Pensione Paura" is a stylish and overlooked giallo.There is enough violence and wonderful visuals to satisfy fans of Italian cult cinema.The film is finally available on Italian DVD without English subs.

At Pensione Paura, the horrors of the World War II are only the beginning

[matheusmarchetti · 10/10 · 27 July 2010]

Francesco Barilli's follow-up film to his equally mesmerizing "Perfume of the Lady in Black" is definitely among the most underrated horror films ever! I wonder why it became so obscure, considering how great it actually is, and overall, it's very upsetting to think that it will probably never get the recognition it deserves (it's only available in Italian with no English subs, as apparently it was never officially released in the US or any other English-speaking country that I'm aware of) In many ways, the film is something of a bettered version of "Perfume", as even though the scenario is quite different, many themes, ideas that were presented in a more subtle way in it's predecessor, are considerably more developed in this one. Also, to everyone who labels Italian horror as style over substance, this one proves the contrary, as it's script (written by Barilli in collaboration with Barbara Albertini and Amedeo Pagani of "The Night Porter" fame) is one of the most complex, intelligent and well written of genre films being released at that time period. The film takes it's time developing each characters and their own inner conflicts. This does take a while, and for most of the first half, it plays out more like a drama than it does horror, but this doesn't hurt the film at all in my opinion, as it only adds to the build-up for a insanely brutal finale and helps us identify with our leads. The plot basically follows a young girl named Rosa, who runs a small inn with her mother during the World War II. After her mother is found dead under mysterious circumstances, Rosa finds herself at mercy of her mother's sinister, sexually depraved guests, but not before a cloaked figure starts prowling the dark hallways of the inn, with horrifying fates in store for those who harm Rosa. The gruesome-yet-beautiful story blends perfectly with the trademark giallo visual style (lots of blue and red gels, as well as some gorgeous locations at the Italian countryside), as well as the haunting score by Afoldo Waitzman (who also composed the score for "A Bell from Hell"), present in almost every single scene, and very important to help characterizing the protagonist, and her surroundings. Leonora Fani was the perfect casting choice in the difficult role of Rosa. She has that angelical, innocent look that the character requires, but is also a very talented actress, as shown through her claustrophobic descent into madness, as the film progresses. Luc Merenda is also great in it, and it was interesting to see him play against the type (just watch "Torso" to see what I mean), as the nasty and hateful Rodolfo. Overall, another unheralded masterpiece from a very underrated director. It's a pity that Barilli didn't make more horror films, as his two entries in the genre are on the same level as (almost) everything Bava or Argento has done. 10/10

cloud of fear and murders

[andrabem-1 · 9/10 · 2 May 2010]

"Pensione Paura" takes place in northern Italy during the last months of World War 2 - the war is not really important for the story of the film, but rather its psychological aspects. The authorities in power are about to fall and new authorities will soon take over. There's in reality a power void, and this stimulates the people to drop their masks and live out their desires - there's just a thin veil of control holding them in place. The war is something far away. The only time the war shows its presence is during a night air raid. What really concerns the people (as always) is their own survival.

In this nowhere land, Marta (Lidia Biondi), seconded by her daughter Rosa (Leonora Fani), runs a hotel. The hotel's guests are dubious and/or shady characters. There's a man who lost all his family in a bombardment and he walks around mumbling about his family, spying on other people. What's up with him? There's also a sleazy gigolo, Rodolfo (Luc Merenda) and his rich lover (Jole Fierro). Rodolfo doesn't limit himself to exploiting rich women, he has still other plans in mind, but what really turns him on is the sight of Rosa. He lusts after her. There's Marta's lover (Francisco Rabal) hidden in a room in a distant corner of the hotel. He's in hiding for political reasons. Two noisy war profiteers (so it seems) and their lovers complete the picture.

One night we hear a shrill cry. A body is found. Now Rosa stands alone in the world.What really happened? The hotel, its dark corridors, its mysterious guests - a vague but also very real threat seems to hover around. The arrival of two unexpected guests with a very suspicious behavior (thugs? police?) thickens the plot still more.

Rosa has a father that is away fighting with the partisans. Rosa thinks of him, writes to him. She thinks that when he comes back everything will be alright again. But meanwhile, the black cloud has grown larger and larger - violence and murders...

And red becomes the color. The climax is really delirious, and by the ending of the film we are left with a great interrogation mark. So violent and yet so peaceful!

"Pensione Paura" is a showcase, particularly for Leonora Fani (her beauty and talent), but all the cast deliver good performances. Francesco Barilli directed the masterpiece "Il profumo della signora in nero" and gives us with "Pensione Paura", another worthy film. In spite of their obvious differences, both films have some striking similarities. "Pensione Paura" is an excellent film, but like "Il profumo della signora in nero" is a difficult film to write about.

Excellent, unjustly obscure Italian slow burner

[Bloodwank · 9/10 · 6 November 2011]

Its so satisfying to see a film like Pensione Paura, a rarity that really excels. Never released in English speaking territories and hence best seen on fan subtitled rips, its as worthy an outing of Italian horror as any others from the same period, indeed is actually superior to many. Best to know as little as possible about the plot before viewing as the film is slow in its revelations and hardly conventional, but essentially Pensione Paura is the tale of Rosa, daughter to hotel owners at the tail end of WW2 and awaiting her fathers return from fighting, who finds herself at the mercy of her assorted and somewhat dubious patrons. Its not really a plot focused film, more a matter of mood, slow accumulation of uneasy events, of aberrant characters, creating a mounting doom-like weight till all gives way. Little is fully explained, there are a variety of intrigues that move the characters along without ever becoming fully clear. Like Rosa we make our way through the fog of mystery, through the hotel with its colors, its peepholes, all decaying in isolation, fluid camera work and rich reds, blues and yellows compelling us in the journey. And the beautiful Leonora Fani as Rosa (one of her classier roles, she was also in Giallo A Venezia and Bestialita) makes for a perfect centre, pushed to the edge of her resources with innocence rubbing raw its almost impossible not to care for her and feel increasingly afraid. A shame she never achieved all that much fame as she really is terrific, highly watchable even in the quietest moments. Luca Merenda is the other big hitter of the film, in a bolder role as a scuzzy ageing playboy, he makes for a splendid arrogant brute, while Spanish veteran Francisco Rabal (Dagon) is warm yet frayed as one of the more sympathetic figures of the piece. Even the smaller roles convince, everyone coming together to make the film a smooth journey so as affairs turn darker and darker into a freaky and uncompromising finale it packs all the more ultimate punch. There is a small sense in which the film is too traditional, there are assorted moments, though variously suspenseful that remind us we are watching a giallo of sorts, and so the ultimate potential is never quite fulfilled. The relationship of characters and location is there, social and geographical isolation feeding the base and craven in man, decaying environment fuelling moral downward spiral, but the these themes aren't all that developed for all that they intrigue. Also the tension and fear of the piece stems more from events than themes, so instead of the truly exploratory, revelatory piece that lurks under the surface we have a top notch genre film that merely shines a searchlight. Yep, its still top notch. Could have done with a bit more blood, but for all that I've been jabbering you should know there are still some shocking jolts and a bit of sleaze and nudity. Its an arty film but it ain't yanking your chain, its still accessible. Those who shun slow burns should stay far away as for much of the first two thirds this only just about feels like horror, but if you can dig the suspense this is highly recommended. 9/10

Luc Merenda Steals the Show

[michigindie · 10/10 · 30 September 2023]

This is an interesting film with interesting characters and plot. Like many Italian films, it takes its time and probably would play better if 10-15 minutes shorter. Yet even as is, it is quite engrossing.

A drab, plain-looking teenaged girl helps her mother run their shabby hotel during the final days of WWII. The mother's days are spent working, preparing meals and tending to guests while her nights are spent in an improbable affair with a wanted man hiding in an isolated room.

The dreary teen girl's days are spent pining for her father, a pilot in the war, waiting for his letters which never come. Her nights are spent dodging the flirts, propositions and lewd suggestions of the hotel guests-all of whom inexplicably find her sexually irresistible.

Although the film is told from the drab teen girl's point of view and she gets a bit too much screen time, it is Luc Merenda (as a horny gigolo banging an old lady until he can find where she has hidden her fortune in diamonds), who steals the show. Luc's character is handsome, sexy and -- best of all -- occasionally quite nude.

Things pick up during the second half of the movie, when a pair of gangsters (one of whom is extremely handsome), show up at the hotel and reveal themselves to be confederates of Luc's gigolo character. Soon after, the gigolo scratches his itch and learns to regret it, after which the tedious coming-of-age teen girl stuff ends and the film becomes an exciting thriller bordering on horror.

There is no English dialogue track available for this title and it's a shame. Reading subtitles distracts one from the screen and this is a movie which deserves the viewer's full attention.