IMDb > I Bury the Living (1958)
I Bury the Living
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I Bury the Living (1958) More at IMDbPro »

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I Bury the Living -- A newly appointed cemetery chairman discovers that, merely by inserting a black pin into a wall-sized map of the cemetery, he can cause the deaths of that plot's owner.

Overview

User Rating:
6.3/10   1,616 votes »
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Director:
Writer:
Louis Garfinkle (original story and screenplay)
Contact:
View company contact information for I Bury the Living on IMDbPro.
Release Date:
July 1958 (USA) See more »
Genre:
Tagline:
SHOCKS THAT CHALLENGE THE IMAGINATION!!! See more »
Plot:
Through a series of macabre "coincidences," the newly-elected director of a cemetery (Richard Boone)... See more » | Full synopsis »
Plot Keywords:
User Reviews:
A Haunting Sigil See more (72 total) »

Cast

  (in credits order) (complete, awaiting verification)

Richard Boone ... Robert Kraft

Theodore Bikel ... Andy McKee
Peggy Maurer ... Ann Craig
Howard Smith ... George Kraft
Herbert Anderson ... Jess Jessup
Robert Osterloh ... Lt. Clayborne
rest of cast listed alphabetically:
Russ Bender ... Henry Trowbridge (uncredited)
Lynette Bernay ... Elizabeth Drexel (uncredited)
Cyril Delevanti ... William Isham (uncredited)
Ken Drake ... Bill Honegger (uncredited)
Matt Moore ... Charlie Bates (uncredited)
Glen Vernon ... Stuart Drexel (uncredited)

Directed by
Albert Band 
 
Writing credits
Louis Garfinkle (original story and screenplay)

Produced by
Albert Band .... producer
Louis Garfinkle .... producer
 
Original Music by
Gerald Fried 
 
Cinematography by
Frederick Gately (director of photography)
 
Film Editing by
Frank Sullivan 
 
Production Design by
Edward Vorkapich 
 
Makeup Department
Jack P. Pierce .... makeup artist (as Jack P. Pearce)
 
Production Management
Clark L. Paylow .... production manager (as Clark Paylow)
 
Second Unit Director or Assistant Director
Clark L. Paylow .... assistant director (as Clark Paylow)
 
Art Department
Leo J. Cornett .... property master
 
Sound Department
Jack Kirschner .... sound editor
Roy Meadows .... sound mixer
 
Visual Effects by
Edward Vorkapich .... visual designer (as E. Vorkapich)
 
Camera and Electrical Department
Don Carstenson .... gaffer
 
Costume and Wardrobe Department
Bob Richards .... wardrobe
 
Music Department
Eve Newman .... music editor
Pete Candoli .... musician: trumpet (uncredited)
Gerald Fried .... conductor (uncredited)
Mitchell Lurie .... musician: clarinet (uncredited)
Shelly Manne .... musician: percussion (uncredited)
 
Other crew
Sam Freedle .... script supervisor
 
Crew believed to be complete


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Additional Details

Also Known As:
Runtime:
76 min
Country:
Language:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Mono (Western Electric Recording)
Certification:
Australia:M | Australia:PG (DVD rating) | Finland:K-18 (2004) (self applied) | UK:12 (DVD rating) | UK:X (original rating) | USA:Unrated

Did You Know?

Trivia:
As the film progresses and Kraft gradually comes to believe that the map controls him, the map on the wall becomes slightly larger in each progressive scene, symbolizing it slowly controlling him.See more »
Quotes:
Robert Kraft:Andy, you better get this straight right now. You heard that lieutenant. It's possible for some people to have things inside them that make other things happen. Nothing is impossible for a man like that, if he thinks about it hard enough.See more »
Movie Connections:
Soundtrack:
Lord Randall, My SonSee more »

FAQ

This FAQ is empty. Add the first question.
17 out of 21 people found the following review useful.
A Haunting Sigil, 27 June 2003
Author: Vornoff-3 from Vancouver, BC

In my opinion, good film operates on the level of dream, and is not constrained by mundane logic and consistency. By this standard, a good horror/thriller should function as a nightmare, in which each inconceivable fear finds inevitable expression, and the protagonist finds him or herself helplessly drawn to the next shock, without any hope for escape until the climax and resolution (awakening). By taking this kind of narrative technique, adding a bizarre and haunting score, repeating certain eerily iconic images and superimposing a decidedly downbeat and pragmatic dialogue, Albert Band created a uniquely dreamlike horror picture that broke through the cliched 50's take on the genre.

Working with a cast of almost unknown character-actors, and the makeup of Jack Pearce, Band's vision finds expression through action focused almost entirely in one room, a room dominated by a map of a graveyard. The map itself is defined by a kind of Magical Sigil, a map of some unexplored part of the human brain, a symbol more deeply meaningful than any modern writing, and far more inscrutable in meaning. It isn't long before Kraft, the oddly un-heroic (and unattractive) protagonist learns that this map contains the power to kill, and he is drawn back, time and again, to use its power in spite of himself. As if to emphasize the powerlessness implicit in the nightmare, it is usually at the bidding of others, not his own volition, that he uses the dread power.

Band cues us many times to the nature of the dream. Kraft complains of deja-vu, as if the dream is a repetitive nightmare. The room he works in is constantly cold at night: for some reason the heater does not function after dark. A homicide cop advocates the existence of paranormal powers that can cause death. A reporter calls Kraft from inside his own (Kraft's) home without a word of explanation. Each time Kraft suggests a thing, that thing invariably happens – just as is often the case in the best and worst of dreams.

The end of the film simply makes no sense, breaks all the rules established by the narrative, falls apart into a tangled mess. This seems acceptable, however, because our dreamer is waking up, struggling to find resolution so that he may repress the dream to go on with the business of the day. The feeling lingers, however, that as night falls and the heater once again fails, Kraft will find himself, again, in that half-remembered room with the looming image of his own mind bringing fear and powerlessness.

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