The Premature Burial

Solid, well crafted entry in producer / director Roger Corman's cycle of Edgar Allan Poe adaptations that's an effective exercise in psychological horror as well as more traditional kinds of horror (such as we see in the nightmare sequence, for example). It shows just how badly one's life can be affected by an unhealthy obsession.

Corman initially tried to get Vincent Price for the lead, needing to switch to Ray Milland instead. While the casting of Milland may have seemed odd at the time, the esteemed, Oscar winning actor would go on to make appearances in other genre and schlock movies in the future. Milland offers a mostly understated performance as the tormented Guy Carrell, medical student and painter who can't get his supposed legacy and phobia of being entombed alive out of his mind. Meanwhile, good friend Miles (Richard Ney), new wife Emily (beautiful genre vixen Hazel Court), and sister Kate (Heather Angel) grow increasingly concerned over his behaviour.

Working with his consistently reliable production design / cinematography team of Daniel Haller and Floyd Crosby, Corman is able to create very effective atmosphere for the production, and the 2.35:1 aspect ratio allows him to pack the frame with detail, and he also continues the practise of creating depth to the images. The music by the great Ronald Stein would be enjoyable enough on its own, but it's supplemented by the repeated refrain of the "Molly Malone" melody, whether it's whistled or played on the piano.

Milland does some delicious work here, particularly in the sequence where Guy is showing Emily and Miles all the safeguards he's put in place in case of his being "buried alive". The excellent cast also includes Alan Napier as Emily's doctor father (who utters one of the best lines, "I never enjoy myself, I merely experience greater and lesser amounts of tedium."), and John Dierkes & Corman regular Dick Miller as the unsavoury grave diggers.

The script by Charles Beaumont and Ray Russell has a very literate quality, and Milland gives his dialogue all of the gravitas that he can muster.

While this wouldn't rank among the best of Corman's Poe series (that honour would have to go to "House of Usher" and "The Masque of the Red Death"), it's still very respectable and fun viewing for classic horror fans.

Seven out of 10.

This is the only film in Corman's Poe cycle without Vincent Price. He chose instead Ray Milland as the man haunted by fear of being buried alive. In fact Milland portrays the protagonist more "seriously" than Price would have, or more "realisticaly". This is a good film for those who like the subject. Some critics have talked about films filled with fascination with death, quoting some times "Obsession" by Brian de Palma, for example. But if there is a "necrophiliac" film ever, this is "Premature Burial". Loosely based in Edgar Allan Poe's unfilmable tale, it has a magnificent plot and many hints and blinks. It is a disturbing film, too. Its atmosphere is perfectly gloomy. Milland seems genuinely tormented by his fears, and he delivers some modified Poe lines with intensity. I think that this picture is in the better half of the Poe cycle, and has a particular quality of its own.

Guy Carrell suffers with catalepsy, a condition that makes him appear dead, a condition that heightens his primal fear, that if being buried alive.

A wonderfully macabre tale from Edgar Allan Poe, Directed by Roger Corman, horror fans are probably more aware of some of his other titles, such as The Pit and The Pendulum.

It's a well paced film, the pace quickens as the story develops, it features some fine horror moments, the thought of being buried alive is a true primal fear for many, and they didn't hold back.

I loved the way the newly married couple were taking a stroll, collecting flowers from The Graveyard, no wonder he got a little tetchy.

It's a very nicely made film, you'll instantly be aware of the strong production values, great sets and costumes, it holds up well.

First time round, it surprised me seeing Ray Milland cast as the leading man, a role that would probably have gone to Vincent Price had be been available, but Milland was a fine actor, not known for horror, but he definitely adds some Star quality.

7/10.

This is an excellent horror movie.To be buried alive is a fear we all share ,and although it's not really new (outside Poe's obsession there's a sequence in Dreyer's "Vampyr") ,it's terribly effective.

Ray Milland portrays a man whose obsession knows no bound.His mausoleum which he shows to a distraught wife and to his good sensible friend and the nightmare are worth the price of admission.The foggy ghastly atmosphere -pure English sixties studios - adds to the almost unbearable suspense.The screenplay,which,like all the other Corman's adaptations ,is rather far from Poe's short novel,is full of good ideas (the undertakers whistling a gentle tune when they open a grave,the cat,the unexpected final twist which is quite successful).

"Premature Burial" is to be recommended to horror movies buffs.

The fear of being buried alive never came to an end ;two examples "Oxygen" featuring Adrian Brody and "Spoorlos" (aka "L'Homme Qui Voulait Savoir")

Intensely gloomy it may be, but an impressive example how a determined cinematic stylist can make a real virtue of a low budget. This was the third of director Roger Corman's AIP chillers based on Poe stories, and the only one not to star Vincent Price. Here, Ray Milland is the protagonist whose family history of catalepsy makes him fear burial alive.

Entirely shot on the sound stage, Corman and his regular art director Danial Haller have created a wonderfully expressionist garden of gnarled trees and shrubs wreathed with dry ice. Even the interior of Milland's mansion seems like a grave, notably in the scene where Hazel Court and Richard Bull take tea in a drawing room with wood-panelled walls, dark green wallpaper, with the dead tree pressing oppressively against the windows.

A number of other directorial touches make even this relatively minor Corman effort a winner. Court's shadow passing phantom-like over the sleeping Milland. The sudden shock moments when the sinister gravediggers Sweeny and Moe appear. And the blue-suffused dream-sequence in which Milland hallucinates the fate he fears most is quite masterfully shot, cut and scored (Ronald Stein).

A dark, dank little gem.