Non si deve profanare il sonno dei morti

This is an outstanding zombie film that instead of going straight for the jugular, piles on the atmosphere and tension...and then goes for the jugular.

Slightly annoying antiques dealer/hippy George leaves the polluted and overcrowded city and heads for the countryside on his motorbike, where he intends to spend the weekend watching the grass grow in the back garden of his cottage. His weekend is ruined when Cristinia Galbo reverses her car into his bike, wrecking it, so the least she can do is give him a ride to his cottage. Cristina soon finds that George is a bit of a gobby smartarse who might have a point, talking as he is about how the powers that be are destroying the Earth. George finds out the Cristina is a neurotic flake who doesn't even know where her sister's house is.

George ends up leaving Cristina in the car to go and ask a farmer for directions. It's at the farm he discovers an experimental machine that is being used for destroying insects and parasites (haven't these folk heard of the food chain?), which he lectures the scientists about in his strangely Zippy-from-Rainbow-like voice. It's about this time that a strange man dripping with water tries to attack Cristina, but when George and the farmer get back to the car, the man is gone. It's weird however how the description of the man reminds the farmer of Old Guthrie, a tramp who drowned in the area recently.

It's dark by the time George and Cristina get to her sister's house. It turns out Cristina's sister is a junky just about to be taken to rehab, and while trying to sneak a fix in the shed she's attacked by Guthrie, which leads to the death of her husband Martin. Enter the cops, especially hard-ass Irish cop Arthur Kennedy, and if there's one thing he hates more than dead bodies, it's hippies! He doesn't buy the story of walking corpses and arrests Cristina's sister after he finds out she's a junky. How are George and Cristina going to prove her innocence?

It takes ages for the first full on zombie attack to occur, but you won't be caring. Every scene in the film is just filled with atmosphere. Martin is killed right in front of his automatic camera that keeps flashing upon the scene of a waterfall. His house is adorned with pictures of his wife having withdrawl symptoms. The local pub has a scabby live owl perched in the hallway. When the zombies do rise up, there aren't that many of them but the sheer terror of the victims comes through live and clear. The zombie rules haven't truly been written in stone either - these zombies are super strong, can take a shot to the head, but really don't like being set on fire.

Grau doesn't skimp on the gore either, especially when zombies rise up in the hospital and attack the receptionist. Best of all is Arthur Kennedy's performance as the copper. He hates George so much that he will not listen to anything he's saying at all, even if it could save lives. This leads to several shocks near the end of the film, as well as the ambiguous ending.

I must admit this is one film I did rush out and buy when it appeared on DVD, and have watched it many a time. It's a good one! The only thing it lacks in comparison to the later Italian zombie film is cheese.

In Manchester, the owner of an antique shop George (Ray Lovelock) rides his motorcycle to Lake District in the countryside with a couple of antique pieces to a house where his friends are working. When he stops at a gas station, the driver of a Mini Copper Edna (Cristina Galbó) reverses her car and hits his motorcycle. George orders Edna to take him to Lake District to compensate the damage but she asks him to go first to Windermere since she needs to visit her problematic sister. Then she would lend the car to him. George drives Edna to her sister's cottage but they get lost in a dead end road. George leaves Edna in the car and walks to a nearby farm to ask for directions. He meets three men from the Department of Agriculture using an experimental machine to kill insects through ultra-sonic radiation in the range of one mile. Meanwhile Edna is attacked by a strange man and she runs toward George but the man disappears.

In Windermere, Edna's sister Katie (Jeannine Mestre) has an argument with her husband Martin (Jóse Lifante) and he leaves the house to take photos of a waterfall. Katie is addicted in heroin and prepares a shot while Martin is outside. However she is attacked by the same man that attacked her sister and she runs to the field where Martin is. The man hunts her down and kills Martin, and Katie flees and meets Edna and George that are arriving in their car. They call the police and the arrogant and bigoted Inspector (Arthur Kennedy) believes that Katie killed her husband. George and Edna try to find evidence that Katie is innocent and Edna discovers that the attacker is a man that has drowned in the river. George finds an absurd and heads with Edna to the cemetery to see the corpse of the man, and the inspector sends a police officer to follow them. Soon they discover that they are under siege in the cemetery by living dead. Will they succeed to escape from the group of zombies?

"Let Sleeping Corpses Lie" is a great zombie movie directed by Jorge Grau. This is the first movie from this director that I have seen and the beginning of the story shows his concern with the environment, showing the pollution everywhere in the area of London. Ray Lovelock and Cristina Galbó show great chemistry and have good performances and Arthur Kennedy is irritating in the role of a ruthless inspector. This movie was released with several alternate titles, and I bought a used collector's tin from Anchor Bay Entertainment and unfortunately is missing a couple of pages of the booklet. My vote is eight.

Title (Brazil): "Não se Deve Profanar o Sono dos Mortos" ("It Shall not Desecrate the Sleep of the Dead")

Note: On 13 September 2015, I saw this film again.

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.

This clever horror movie deals about a couple (Ray Lovelock, Cristina Galbo) afflicted by stalking, vicious Zombies (Jose Lifante, Fernando Hilbeck,Joaquin Hinojosa and many others) relieved by ultrasonic radiation caused by agricultural experimentation. Meanwhile a grumpy Police Inspector (Arthur Kennedy) is investigating the strange events.

Gory, gruesome , and ghastly cannibal feast in which the stumbling flesh-eating stiffs are reanimated by means of radioactive waves and can be only destroyed by fire. Unrelenting shock-feast laced with touches of ecological denounce. Army of Zombies appearance roaming the countryside , graveyard and some people besieged inside a hospital deliver the goods , enough to be interesting. Jorge Grau's first great success is compelling directed with startling visual content . This frightening movie is plenty of thrills, chills, body-count executed by the eerie Zombies and photographed in glimmer color with lurid images and phenomenal results. This is a classic Zombie film where the intrigue,tension, suspense appears threatening and lurking in the foggy outdoors and every room, and corridors from a hospital. At the time considered the plus ultra of disturbing movie is less stomach-churning by nowadays's standards, yet its fundamental power to thrill remains undiminished. Agreeable performance by Cristina Gabo who made various Giallo and Horror movies as ¨The boarding school¨ , ¨What have you done to Solange¨, ¨The killer must strike again¨. This genuinely frightening story with correct utilization of images-shock is well photographed by Francisco Sempere in location of England : Manchester, Derbyshires , Italy : Cinecitta studios and Madrid . Creepie and eerie musical score by Sorgini. Jorge Grau who also made another good terror film titled 'Ceremonia Sangrienta' creates a rare Zombie thriller that manages to be both scary and skilfully made, deserving its cult status . Rating: Good, this is one more imaginative horror pictures in which the camera stalks in sinister style . An average budget horror movie that still packs a punch for those who like to be terrorized out their wits.

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....