| 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 | writer (uncredited) | |
| Sandro Continenza | writer | |
| Marcello Coscia | writer | |
| Miguel Rubio | writer (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 | |
| Manuel Pérez | .... | production manager (as Manolo Pérez) | |
| Giuliano Principato | .... | unit manager | |
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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| Night of the Demon | Incubo sulla città contaminata | E tu vivrai nel terrore - L'aldilà | La noche del terror ciego | Dèmoni 2: L'incubo ritorna |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb Spain section |
| Add this title to MyMovies |
The opening ten minutes of this film present a skewed, cynical perspective of society. As our "hero" rides through London on his way to the countryside, Spanish director George Grau feeds us endless images of choked traffic, smoke spewing from grates, commuters filing onto buses like zombies and, finally, a quick shot of a naked woman dashing across a busy street. We notice her, but nobody else does, they're too damn occupied with their own busy lives.
It's a theme revisited in 2004's SHAUN OF THE DEAD, another zombie film with intelligence behind it, but in LET SLEEPING CORPSES LIE, it's purely subtext, but it's subtext that works on us like a spreading virus.
As George Romero suggested -- in "Night of The Living Dead" -- that radiation from a downed satellite may have been responsible for the revival of the long gone and recently deceased, Grau is more overt as he links what looks like a piece of farming machinery to the resurrection of the dead.
This film's effectiveness is due to its deliberate pacing and detail-oriented direction. A principle that horror is unexpected in the sunshine is applied to the film's first half as the stumbling dead begin to multiply.
The final showdown in a hospital (The Manchester Morgue) has a graphic, savage nature to it that restates the subtle subtext.
Like great Spanish horror directors before him, George Grau brings a respect for the genre to this moderate masterpiece and his sincerity overcomes the occasional plot snag.
Horror is about fear, and not just fear of the unknown, it's also about the fear of knowing too much.
Perhaps it is best to glide through life like a zombie, oblivious to the changes around you.
LET SLEEPING CORPSES LIE was a milestone for horror movies.