IMDb > Let Sleeping Corpses Lie (1974)
Non si deve profanare il sonno dei morti
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Let Sleeping Corpses Lie (1974) More at IMDbPro »Non si deve profanare il sonno dei morti (original title)

Photos (See all 10 | slideshow) Videos (see all 2)
Let Sleeping Corpses Lie -- A couple (Ray Lovelock and Cristina Galbo) travelling along the English countryside stop to get directions from a pair of Ministry of Agriculture workers testing an experimental device designed to drive insects into killing each other.
Let Sleeping Corpses Lie -- Two traveling companions, George and Edna, come across a small town infested with the "living dead" that are satisfying their cannibalistic hunger on anyone they come across.

Overview

User Rating:
6.9/10   5,128 votes »
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Up 71% in popularity this week. See why on IMDbPro.
Director:
Contact:
View company contact information for Let Sleeping Corpses Lie on IMDbPro.
Release Date:
1 June 1975 (USA) See more »
Genre:
Tagline:
One of the best zombie films ever made. See more »
Plot:
A cop chases two hippies suspected of a series of Manson family-like murders; unbeknownst to him, the real culprits are the living dead, brought to life with a thirst for human flesh by chemical pesticides being used by area farmers. Full summary » | Add synopsis »
Plot Keywords:
Awards:
4 wins See more »
User Reviews:
Has Atmosphere, Gore, and Intellegence See more (99 total) »

Cast

  (in credits order) (complete, awaiting verification)
Cristina Galbó ... Edna Simmonds (as Christine Galbo)
Ray Lovelock ... George Meaning

Arthur Kennedy ... The Inspector
Aldo Massasso ... Detective Sgt. Kinsey
Giorgio Trestini ... PC Craig
Roberto Posse ... Benson
José Lifante ... Martin West (as Jose Ruiz Lifante)
Jeannine Mestre ... Katie West
Gengher Gatti ... Keith
Fernando Hilbeck ... Guthrie Wilson
Vera Drudi ... Mary
Vicente Vega ... Dr. Duffield
Francisco Sanz ... Perkins
Paul Benson ... Wood
Anita Colby ... Nurse
Joaquín Hinojosa ... Autopsy Doctor
Vito Salier ... Naked Man
Isabel Mestres ... Telephonist

Directed by
Jorge Grau 
 
Writing credits
(in alphabetical order)
Juan Cobos  uncredited
Sandro Continenza 
Marcello Coscia 
Miguel Rubio  uncredited

Produced by
Edmondo Amati .... producer
Manuel Pérez .... executive producer
 
Original Music by
Giuliano Sorgini 
 
Cinematography by
Francisco Sempere 
 
Film Editing by
Domingo García 
Vincenzo Tomassi 
 
Production Design by
Carlo Leva 
 
Art Direction by
Rafael Ferri 
 
Makeup Department
Carboni .... wig maker
Giannetto De Rossi .... makeup artist
Rocchetti .... wig maker
 
Production Management
Felice D'Alisera .... production manager
Julio Parra .... unit manager
Giuliano Principato .... unit manager
Manuel Pérez .... production manager (as Manolo Pérez)
 
Second Unit Director or Assistant Director
Gianni Arduini .... assistant director (as Giovanni Arduini)
 
Sound Department
Nick Alexander .... dubbing editor
Antonio Cárdenas .... sound recordist
 
Special Effects by
Juan Antonio Balandín .... special effects
Luciano Byrd .... special effects
 
Visual Effects by
Giannetto De Rossi .... special optical effects
 
Camera and Electrical Department
Enzo Frattari .... camera operator
Ramón Sempere .... camera operator
 
Costume and Wardrobe Department
Carmen de la Casa .... seamstress
 
Music Department
Giuliano Sorgini .... conductor
 
Other crew
Eva Del Castillo .... continuity
Julio Parra .... production supervisor
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Non si deve profanare il sonno dei morti" - Italy (original title)
"The Living Dead at Manchester Morgue" - UK, USA
"Do Not Speak Ill of the Dead" - International (English title) (literal title)
"Don't Open the Window" - USA
See more »
Runtime:
Italy:95 min | Spain:93 min | USA:85 min (R-rated version) | USA:93 min (unrated version)
Country:
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:

Did You Know?

Trivia:
According to director Jorge Grau the woman streaker seen in the street during the opening credits was originally hired as an extra on the film.See more »
Goofs:
Factual errors: If you look at the lettering on the door while the police and George are at the Old Owl, you can see that owl is mistakenly spelled "Olw".See more »
Quotes:
policeman:I'm mad for apples, me!See more »
Movie Connections:
Referenced in Birth of the Living Dead (2013)See more »

FAQ

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18 out of 24 people found the following review useful.
Has Atmosphere, Gore, and Intellegence, 19 November 2001
Author: marquis de cinema from Boston, MA

Non si Deve Profanare il Sonno Dei Morti/Let Sleeping Corpses Lie(1974) is a lively Italian/Spanish take on Night of the Living Dead(1968). Yet is not a mere rip off because of own brand of zombie horror. Director, Jorge Grau helps make this film a classic zombie pic on its own terms with atmospheric scenery, remarkable moments of horror, gore highlights, and effective surprise twists. In some ways a much more polish looking film than NOTLD. Acting in film is better than in the average zombie pic. Underrated zombie chiller that has recently gotten the attention it deserves with DVD release.

The first zombie to appear on the scene is Guthrie. The attack on Edna by Guthrie is reminiscent of the attack on Barbara in Night of the Living Dead(1968). Guthrie, the zombie is only on the screen for the first half and the film could have used him for its entirity. Fernando Hilbeck has the perfect face and manner to be a menacing looking zombie. Guthrie is the most imposing zombie figure ever to step foot in a zombie horror picture. Guthrie is in the early stages of zombifcation which is why he doesn't look like the usual flesh rotting zombie.

Beneath the gore and horror is a fascinating subtext on fascism. Fascism as represented by the inspector is shown to be closed minded and ruthlessly proud. Director, Jorge Grau lived in Spain during the reign of Francisco Franco which plays an influence on the fascist depiction of the Manchester inspector. Relays that fascism is at its most dangerous when hiding behind law and order. Let Sleeping Corpses Lie(1974) was not popular among British censors or Police because of its anti-authority stance. Fascist subtext is dealt with great power and intellegence.

It was Let Sleeping Corpses Lie(1974) and not Dawn of the Dead(1978) that mainly influenced a rash of Italian cannibal/zombie films of the late 70s/early 80s. Lucio Fulci was one such director who was influenced by LSCL that he patterned his gothic zombie pics after the look of this film. DOTD influence is significant on the Italian zombie craze but not as high as people think. The editor and make up effects man for LSCL would become part of Fulci's entourage. Provides a medium between Night of the Living Dead(1968) & Dawn of the Dead(1978). The Italian zombie films of late 70s/early 80s owe a debt of graditude to this excellent made zombie pic.

Cemetery sequence is first sustained terror moment. Suspenseful scene where the viewer begins feeling the terror felt by George and Edna. Moment when George and Edna attempt to break outside a grave from inside the parlor room inspired a identical moment in House by the Cemetery(1981). Guthrie's touching of corpses to bring them back is a dark parody of Jesus raising Lazarus from the dead. Some juicy gore effects are provided with the bloody death of a Police officer. Expertly handled by Jorge Grau with a feeling of the macabre.

Although zombies are featured as villains, its the inspector played by Arthur Kennedy that is the true villain of the story. The zombies are not in long or sparse enough to be counted as screen villains. The inspector is a self righteous jerk whose unwilling to admit when he's wrong. Arthur Kennedy is convincing bitter as the fascist and sadistic Police Inspector. He uses villainous tactics in handling the case described in the film without willing to find out the truth. By shifting the role of villain to Police Inspector, the film becomes an anti-establishment film.

Few interesting ideas pop up during course of story. First, there is idea of dead coming back to life via an agriculture sonic pest killing device which is an provocative one. Second, the notion of an ecological apocalypse is driven hard into the plot with frightful implications. What's implied here is that humankind is creator of its own destructive path. Third, story for one brief moment deals with the idea of babies born with unusual violent behavior patterns. These ideas and others are what makes it especial among European zombie films.

Second sustained horror moment is hospital carnage sequence. An orgy of bloodletting and zombie mutilation runs amuck upon the seemingly quiet hospital setting. A big influence on the hospital climaxes in Lucio Fulci's The Beyond(1981) and Stuart Gordon's Re-Animator(1985). Moment in elevator when Katie is strangled by undead husband inspired the strangling of Meg by a zombie in Re-Animator(1985). Director builds up this scene slowly and ups the terror as time goes by. Memorable sequence ends in tragedy for two main characters.

Let Sleeping Corpses Lie(1974) is infamously remembered for the ultra gory dismemberment of a hospital telephonist. Fantastic effects are employed by Giannetto De Rossi to make zombie mutilation of telephonist look realistic. Far more violent than anyone in an audience was used to from a horror film in 1974. It was gore moments like these which were the basis for Lucio Fulci using De Rossi for his gothic zombie pics. Filmed with effective editing and graphic novel imagery. A highlight among gore moments in Italian zombie cinema.

Ends with one of the most satisfying surprise endings in horror film history. Final scene is something out of a Tales from the Crypt or Creepshow tale. Unlike Night of the Living Dead(1968), Let Sleeping Corpses Lie(1974) finishes off with a happy ending(poetic justice style). My favorite moment of Let Sleeping Corpses Lie(1974) is this one for obvious reasons. The look on Police Inspector's face as he is closer to meeting his fate is priceless. Let Sleeping Corpses Lie(1974) is a horror favorite of mine that has become more entertaining with each viewing.

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