Erich Von Stroheim (Dr Andre Crespi), Harriet Russell (Mrs Estelle Ross), Dwight Frye (Dr Thomas), Paul Guilfoyle (Dr Arnold), John Bohn (Dr Ross), Geraldine Kay (Miss Rexford), Jeanne Kelly (Miss Gordon), Patsy Berlin (Jeanne Ross), Joe Verdi (expectant father), Dean Raymond (minister).Director: JOHN H. AUER. Screenplay: John H. Auer. Story: John H. Auer, suggested by the short story, "The Premature Burial", by Edgar Allan Poe, as adapted by Lewis Graham and Edwin Olmstead. Photography: Larry Williams. Film editor: Leonard Wheeler. Art director: William Saulter. Make-up: Fred Ryle. Music director: Milton Schwartzwald. Production supervisor: W.J. O'Connor. Sound recording: Clarence R. Wall. RCA Victor Sound System. Associate producer: Herb Hayman. Producer: John H. Auer. A JHA Production. Executive producer: Max Hoffman. Copyright 16 October 1935 jointly by Liberty Pictures Corporation and Republic Pictures Corporation. Filmed at the old Biograph Studios in New York. U.S. release through Republic: 21 October 1935. New York opening at the Rialto: 12 January 1936. 7 reels. 66 minutes.SYNOPSIS: Famous surgeon has a score to settle with his rival.COMMENT: John H. Auer was certainly one of Republic's more imaginative directors, and here, in his initial venture for that studio (the film was actually purchased by the Herbert J. Yates combine after it was completed for Max Hoffman's Liberty Pictures), he displays an even greater inventiveness in creating an effectively eerie atmosphere and some wonderfully sinister effects on a minuscule budget. His biggest expense was no doubt the hiring of Erich Von Stroheim for the title role. And Von Stroheim's services were certainly worth the money. The "Von" gives a captivatingly charismatic performance, using all the props and bits of business at his command to give extra power to his portrait. Whether bawling out an associate or evilly planning the demise of his rival, Von Stroheim is always in control. So much so, in fact, that the rest of the players, with the sole exception of Dwight Frye, have little chance to impress. Never mind, it's "the man you love to hate" who attracted picture- goers and the other actors were well aware of that fact. Thus Crespi is Von Stroheim's movie. And Auer's.

I only just realized this was an update of Edgar Allan Poe's "The Premature Burial" and, in fact, had been filed in my movie collection under the Thriller label! Indeed, I had acquired it on account of the star presence of the great Erich von Stroheim (tellingly, his baptism of fire within the fantasy genre came soon after his distinguished but infuriating directorial career ground to a definite halt!) but, watching the opening credits, was pleased to find Dwight Frye was in it, too. For the record, Stroheim's three other horror roles were in the superior THE LADY AND THE MONSTER (1944) and the upcoming THE MASK OF DIIJON (1946) and the German-made ALRAUNE (1952). Now, back to the film proper, which is undeniably interesting in its borrowings: not merely Poe (incidentally, his middle name is lazily spelled Allen in the titles, just as the star's own loses the 'h'!) but, in Frye's incompetent (and grave-robbing) assistant, FRANKENSTEIN (1931) and, while the morgue scenes and modern setting are redolent of MYSTERY OF THE WAX MUSEUM (1933), the all-important funeral scene – in which the occupant of the coffin is aware of what goes on but is unable to do anything about it – obviously owes a lot to Carl Theodor Dreyer's VAMPYR (1931). However, I must say that I was disappointed by the slackness of the script: Stroheim (whose aristocratic mannerisms – especially his propensity for smoking and, in imitable fashion, drinking – are in full sway here) not only puts to a death-resembling sleep his amorous rival and former protégé in full view of the contended party but writes down the all-important time of 'demise' in advance on the certificate so that, when he signs it, Frye proves an unwitting witness. But, then, he also inexplicably fails to get rid of him (after amusingly spending much of their scenes together lambasting the junior doctor for something or other)…thus effectively precipitating his own come-uppance – though not before being visited by the ghastly (and which he initially takes to be ghostly!) victim of his wiles. Being mostly set inside a hospital, with medical staff in white walking about in appropriately antiseptic surroundings, the detail sometimes gets lost in the fuzzy copy I watched! As for comic relief, an obligatory balancing ingredient in most films of its ilk (certainly at this point in time), we get an excited Italian (one Joe Verdi!?) speaking in broken English – another cliché – whose inordinately-delayed expectancy of parenthood eventually rewards(?) him with quintuplets.

Although certainly not up to the standards of the competition over at Universal, this little horror film provides enough good moments to warrant at least a look. Stroheim is wonderful, and it's always a treat to see Dwight Frye in anything.There are some great moments, all involving Stroheim, but some of the best scenes are ruined by sloppiness either in direction or editing. Stroheim's best scene is where he gloats above his paralyzed victim, but the scene is choppy and the edits are so jarring that it's simply a tribute to the actor that the scene works at all.The funeral scene, however, is very well done. The intercutting between the funeral and the restrained Frye attempting to kick his way to freedom is very good, and continually reminds the viewer of the fate of the poor man in the coffin. The subjective camera angle as the dirt hits it was probably pretty strong stuff in 1935.If your a fan of horror movies, especially 1930's films, this one should be on your list to view.

Wow! What a great performance by Erich Von Stroheim as a doctor who tries to get revenge on the man that took his girl away. Von Stroheim once again plays an overly obsessed man in a range of quiet meekness in one moment and tyrannical rage in another. His character of a lonely, frustrated man filled with nothing but hate at the loss of losing the girl he loved to another man is frightening and sympathetic at the same time. This film is very creaky, has little action, and almost no musical background, yet Von Stroheim's performance carries the film on his shoulders and delivers the goods. Some great scenes in the film show Von Stroheim's range as an actor from his thumping of a pencil for an half hour and finally snapping it to his corpse beside manner where he tells his captured prey his wicked, diabolical intentions. Dr. Crespi somehow makes his hated enemy appear dead but in reality leaves him alive only to be buried alive. The glee in Dr. Crespi's face glows and really turns what could have been a horrible film into a quite enjoyable one. Add to the fun the presence of Dwight Frye(who has a scene digging up a grave) and you have a wonderful horror picture from the heyday of horror. Above all, this film shows us just how good this man was at acting, and it shows us the loss we have that he was not utilized more.