| Cristina Galbó | ... | Edna (as Christine Galbo) | |
| Ray Lovelock | ... | George | |
| Arthur Kennedy | ... | The Inspector | |
| Aldo Massasso | ... | Kinsey | |
| Giorgio Trestini | ... | Craig | |
| Roberto Posse | ... | Benson | |
| José Lifante | ... | Martin (as Jose Ruiz Lifante) | |
| Jeannine Mestre | ... | Katie | |
| Gengher Gatti | ... | Keith | |
| Fernando Hilbeck | ... | Guthrie | |
| 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 | |
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| Nightmare City | Night of the Demon | The Beyond | Demons | Deep Red |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb Spain section |
The 1971 giallo "What Have You Done to Solange?" was the film that first turned me on to the abundant charms of Spanish actress Christine Galbo, and I just had to have more. In "Let Sleeping Corpses Lie," an Italian/Spanish coproduction from 1974 directed by Jorge Grau, Galbo plays a redhead but is still oh-so gorgeous. In this one, she accidentally wrecks the motorcycle of vacationing antiques dealer Ray Lovelock in the English countryside, and before long, both of them are playing defense against the horde of reanimated corpses that has been brought to inadvertent life by an experimental, ultrasonic farming device. In one of the DVD's many extras, Grau freely admits, during an interview, the picture's debt to George A. Romero's seminal "Night of the Living Dead" (1968), and this debt is not only obvious with reference to the gut-munching zombies on display here (a fairly ugly, creepy, intelligent and fast-moving bunch, I must say), but also to the film's doubly ironic ending. Galbo is as pretty and appealing as I remembered from "Solange," and American star on the downslide Arthur Kennedy manages to score as a bigoted police officer who's convinced that Galbo and Lovelock are responsible for all the gruesome carnage. The film also features gorgeous photography, some well-done gross-out scenes, a tightly plotted story and better-than-average acting. Some of the action sequences unfortunately take place during the dark of night and in gloomy underground crypts, severely limiting the viewer's visibility, but the film on the whole is a gas, especially during its frenetic final half hour. And yes, I think I will be needing another dose of Christine Galbo very shortly....