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Dead and Buried (1981)
Starring: James Farentino, Jack Alberston, Melody Anderson Take the writers of Alien (Ronald Shusett and Dan O'Bannon) and let their imagination run wild in a solemn coastal town no larger than a postage stamp; combine voodoo, missing cadavers, and creepy locals with a bizarre affinity for photography; add one mentally deranged mortician (Jack Albertson) and a straight-arrow, ex-city sheriff (James Farentino) intent on discovering the truth behind the area's growing body count. Stir together and bake for 90 minutes. Then prepare to feast upon Dead and Buried, and overlooked 1981 horror thriller that Modern Cinema dubbed: "The most psychologically shocking and emotionally devastating film since 'Psycho.'" Waves crash along a cragged shore of a distinctly New England beach. Credits fade and we are introduced to Potter's Bluff newest arrival, outdoor photographer George Lamoyne. Lamoyne has a passion for sea scapes and beautiful women. To his delight, he quickly finds this sleepy Rhode Island village to be well equipped with both. After snapping some semi-nude poses of a seductive blond beachcomber, Lamoyne relaxes to thank his good fortune. What unfolds next will shock even the most jaded horror fan. A mob of stoical townsfolk arrives brandishing weapons, cameras and other photographic equipment. Methodically, they encircle then beats the hapless and confused Lamoyne. Still breathing, he his tied up to a wooden stake, doused in gasoline, and matter-of-factly set ablaze. Men and women of all ages gather to witness the human sacrifice, and several photograph and film event. Their faces remain devoid of expression, their words limited only to a macabre greeting: "Welcome to Potter's Bluff." This appalling display of unprovoked cinematic violence sets the stage for Dead and Buried. Those faint of heart will likely proceed no further. They will wish they had. Dead and Buried is far from typical B-movie horror fare. The film is artistically directed, and the script is remarkably clever. Despite several twists in the story line, it never loses its footing, and only once falls into the realm of "camp" cinema. (The instantly forgettable family-lost-in-the-abandoned-house scene.) The cast is competent (Look closely and you'll spot a young Robert Englund.), the special effects are top notch (Hats off to SFX guru Stan Winston.), and the story is credibly executed. However, more than anything, it is the melancholic mood pervasive throughout the film that elevates Dead and Buried above its contemporaries. Journeyman director Gary Sherman (Poltergeist III) deserves kudos for creating and maintaining the picture's unique and unnerving atmosphere. Unrelenting fog, drab sets, and almost mechanical dialogue add to the eerie, gothic aura of a town whose inhabitants kill perfunctorily. The setting is bleak, yet the story behind Dead and Buried remains far bleaker, culminating in a climax even more disturbing than the film's infamous opening. Go To Page: 1 2
The copyright of the article It Takes a Village... To Get Away With Murder
in Cult Cinema is owned by Paul Armentano. Permission to republish It Takes a Village... To Get Away With Murder
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