Barbara Carlin attends her own funeral and returns home suspecting that her husband, Rod Carlin, had tried to do away with her, and is also (rightfully) curious as to just who was the woman... See full summary »
Barbara Carlin attends her own funeral and returns home suspecting that her husband, Rod Carlin, had tried to do away with her, and is also (rightfully) curious as to just who was the woman buried under her name. She learns that the victim was glamor girl Helen Lawrence, with whom her husband had been having an affair. Complications come from her sister Rusty, who, it turns out, is not her real sister and also doesn't like her a whole lot, and from a dim-witted prize fighter, George Mandley. The family attorney, Michael Dunn, stands around and provides little in the way of help or reason for being there, until... Written by
Les Adams <email@example.com>
BURY ME DEAD (Bernard Vorhaus, 1947) **1/2; DEATH BY PROXY **
Little-known Poverty Row noir which is fairly complex and interesting, but unbalanced by its humor. The best things about it are the cinematography (courtesy of the legendary John Alton) and the participation of the two female leads: June Lockhart (her role is not too dissimilar from that of SHE-WOLF OF London  she was on the point of being driven mad in the latter film, while here she's the object of murder, and the reason for both is her inheritance) and Cathy O'Donnell (actually top-billed but her role is subsidiary to Lockhart's from what little I've read about it, her character has been played up as a femme fatale but she's really just a mixed-up kid, recalling the Martha Vickers of THE BIG SLEEP ). Having mentioned THE BIG SLEEP, Sonia Darrin (who played the sharp-tongued bookstore clerk with whom private detective Elisha Cook Jr. was enamored) appears in BURY ME DEAD as an ill-fated schemer.
On the other hand, the male lead (Hugh Beaumont) is pretty bland despite being deceived, beaten up and accused of murder, he keeps an incongruous jovial countenance throughout! Nonetheless, the suspense sequences towards the end are moderately well-handled (though the patronizing, thick-headed police inspector character is decidedly overbearing).
With regards to the renamed TV version, it runs a mere 27 minutes against the original 68: whole subplots are omitted, as well as most of the flashback sequences; consequently, it makes little sense and, really, is only worth watching once for the sake of curiosity. Unfortunately, the print on the VCI DVD left a lot to be desired (the company's output over the years, while undeniably earnest, has also been alarmingly sloppy!): the audio was especially problematic with the presence of excessive pops and crackles (ironically, these didn't plague the Condensed Version as much) and, most bafflingly, a complete audio drop-out for a few seconds of dialogue!!
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