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Review: I Bury the Living - 1958

The title of I Bury the Living is misleading. No one is buried alive in the course of this story. Not that there aren't plenty of burials happening, though, since this 77 minute B-film takes place amid the day-to-day operations of a cemetery. Only some of what happens there is within our view, though, even as events heat up locally and the death rate accelerates. Instead, at its best, I Bury the Living is a psychological test of wills between a new but reluctant cemetery director (played effectively by Richard Boone) up against an apparently lethal cemetery plot map, a large but disingenuous paper object hanging on the inside wall of the cemetery grounds building.

Appointed to the position by the town's local businessman's committee, the role is meant to be a simple community volunteer position, one that's been held previously by many of the other local men. Saying he's too busy doesn't get him out of this "honor," and so Boone's pragmatic and rational Robert Kraft, promised that the task really only takes up a few hours a month, heads down to the cemetery and proceeds to learn how it operates from the longtime grounds keeper Andy (Theodore Bikel). The huge plot map is pointed out and is explained that it helps to keep things simple, with each individual grave site mapped out with family names and black pins showing which positions are already occupied, and white pins for purchased spots belonging to living people. A young couple drop by and they need a pair of plots, and Boone's character updates the plot map, marking their spots accidentally with black pins instead of white. The next day we learn the pair have died in a car accident.

Seeing how he had marked their spots wrong, and a bit shaken by the coincidence, Robert Kraft dismisses the matter until soon another wrongly marked plot is followed by another death. By this point the rational thinking of Robert Kraft is being chiseled away by guilt and a mounting panic that something is happening he can't see or understand. He appeals to the police and of course they view his remarks as absurd. He tries to bring the committee members (the cast is a who's-who of familiar TV actors, circa 1958) up to speed on the crazed situation, and they good-naturedly, but firmly, dismiss the matter. They also eventually put up a challenge for Kraft to "break free" from the delusion: insert black pins into our plots, tonight, they say, and tomorrow you'll see that there's nothing to this story you've concocted. He does this, then stays in the primitive office, staring at the plot map on the wall, covered in pins that cast long shadows (cinematography by Frederick Gately) and waits. And then the reports of death start coming in over the phone.

Boone carries most of I Bury the Living as not just our main character but really the only one the script by Louis Garfinkle allows up to get to know. As the map starts changing from a ubiquitous framed object into a psychological symbol that shifts visually as Kraft stares at it over and over, the relationship of Kraft to map becomes one in which he's really staring deep down into his own mind and trying to find out what has happened there.

Director Albert Band doesn't have a lot of budget here and the best scenes are usually just Boone alone with the map in the shadowy grounds building, in a mental conflict with reason, fear and a sense of cosmic power. That this is shown by Boone reduced to an almost silent film level of communication, but pulling it off, is much of what makes I Bury the Living unusually gifted beyond its low budget and genre shackles. But those shackles are real and do reveal themselves as the tale progresses, and the budget, too, asserts its cheapness.

The marketing materials for the film have "out of a time-rotted tomb crawls an unspeakable horror" but even with the cemetery setting, we don't have dead coming forth... or do we? The mentally disintegrating Robert Kraft, overwhelmed with the rising body count, gets the crazy idea of putting white pins into where dead bodies lay on the plot map.

All of the best ideas in this film seem to have been carved out of a film meant to go originally in a different, and more generic, horror film direction.

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But Hurrell wasn't just in the right place at the right time: he was doing things differently. Before him, publicity stills were bland and interchangeable. Hurrell innovated by using hard, directional light to carve out cheekbones and throw everything else into shadow. His portraits of Dietrich are a masterclass in the approach..."

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Sneak peek of the cover for my new book about the making of #TheWomen! Drops in Spring 2027! Thank you, @UTexasPress 😍 #TCMParty #NormaShearer #JoanCrawford #OldHollywood https://t.co/Stj06dPoFd
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Fast Review

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