USA, 1962
81m
35mm film, Panavision (anamorphic), Eastmancolor, 2.35:1
mono, English
An American horror film directed by Roger Corman.
Plot Summary
Life seems to going well for Emily Gault when she marries long-time lover Guy Carrell, despite his sister Kate's disapproval. But Guy is so obsessed by the fear of being buried alive that he builds a special crypt to prevent his greatest fear from ever happening. But are his fears really justified?
Credits
* = uncredited
Crew
Director: Roger Corman
AIP, Filmways Pictures, Santa Clara Productions
Executive Producer: Gene Corman
Producers: Samuel Z. Arkoff, Roger Corman
Script: Charles Beaumont, Ray Russell
Story: Edgar Allan Poe
Director of Photography: Floyd Crosby
Editor: Ronald Sinclair
Music: Ronald Stein, Les Baxter *
Sound: John Bury Jr
Costume Designer: Marjorie Corso
Make Up: Lou LaCava
Special Effects: Pat Dinga
Art Director: Daniel Haller
Cast
Ray Milland (Guy Carrell)
Hazel Court (Emily Gault)
Richard Ney (Miles Archer)
Heather Angel (Kate Carrell)
Alan Napier (Dr Gideon Gault)
John Dierkes (Sweeney)
Dick Miller (Mole)
Clive Halliday (Judson)
Brendan Dillon (minister)
Alternative Titles
Elävänä haudattu – Finland
Enterro Prematuro – Brazil (television)
Lebendig begraben – Austria, West Germany
Levande begravd – Sweden
Levende begravet – Denmark
La obsesión – Spain
Sepolto vivo – Italy
Links
Extracts included in
Dracula: Dead and Loving It (1995)
Fright Night (1985)
See also
The Crime of Dr Crespi (1935)
Horror (1964)
The Raven (1912)
References
Books
- American International Pictures: A Filmography by Robert L. Ottoson pp.81-82 – credits, synopsis, review
- Elliot's Guide to Films on Video by John Elliot p.618 – credits
- Horror and Science Fiction Films III by Donald C. Willis p.213 – credits
- Horrorshows: The A-Z of Horror in Film, TV, Radio and Theatre by Gene Wright p.28 – credits, review
- Reference Guide to Fantastic Films by Walt Lee p.380 – credits
- Vincent Price: The Art of Fear by Denis Meikle p.82
- Women in the Horror Films of Vincent Price by Jonathan Malcolm Lampley pp.177-179; 192
