No profanar el sueño de los muertos (1974) - Japanese chirashi
AKA The Living Dead at Manchester Morgue; Let Sleeping Corpses Lie; Murder at the Manchester Morgue; The Living Dead; Breakfast at the Manchester Morgue; Don't Open the Window; Do Not Speak Ill of the Dead
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The Living Dead at Manchester Morgue (1974)
aka Non si Deve Profanare il Sonno dei Morti
aka No Profanar el Sueño de los Muertos
aka Let Sleeping Corpses Lie
aka Don't Open the Window
Star Films S.A. / Flaminia Produzioni Cinematografiche
Dir. Jorge Grau
Vicente Vega as Dr. Duffield
Vito Salier as Autopsied Zombie
Practical special effects by Giannetto De Rossi
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Blu-ray Review: The Living Dead at Manchester Morgue
You'd be hard-pressed to find anyone who would argue that Night of the Living Dead is anything less than one of the most influential horror movies of all time, but it wasn't until Romero followed it up with Dawn of the Dead a decade later that the floodgates opened to unleash imitators like a horde of the undead. Night of the Living Dead's success inspired other independent horror movies but only a scant few zombie outings.
Chief among them is director Jorge Grau's 1974 effort The Living Dead at Manchester Morgue, also known as Let Sleeping Corpses Lie (a rare instance in which the US rebranding is superior to the original title); a highly underrated zombie movie. The similarities to Night of the Living Dead are irrefutable (it was, in fact, pitched to Grau as “Night of the Living Dead in color”), but it avoids playing like a derivative rip-off. A Spanish-Italian co-production lensed in England, it harnesses an international flavor along with ample atmosphere.
After getting into an accident with one another while traveling in the England countryside, brash motorcyclist George Meaning (Ray Lovelock, Fiddler on the Roof) hitches a ride with Edna Simmonds (Cristina Galbó, What Have You Done to Solange?), a Londoner visiting her drug addict sister. They soon learn about an experimental agricultural machine that harnesses ultrasonic radiation to make insects attack each other. As it turns out, it has the same effect on the nervous systems of newborns and the recently deceased.
Although its setting is rural, The Living Dead at Manchester Morgue lacks the contained aspect of Night of the Living Dead. Instead, writers Sandro Continenza and Marcello Coscia add the threat of a dogmatic local police sergeant (Arthur Kennedy, Lawrence of Arabia) who pins George and Edna as the primary suspects when dead bodies start to pop up. The trio have a great rapport, with the five-time Oscar nominee Kennedy stealing every scene he's in.
The film's scope is fairly small and its pacing slow, particularly in the first half, but it sticks the landing with a killer final act. It concludes with a gut-punch ending akin to Night of the Living Dead's finale, but it's chased with an EC Comics-esque comeuppance. The zombies are quite unsettling, and Giannetto De Rossi's (Dune, High Tension, Zombie) gut-munching gore is plentiful for the time, earning it a spot among the notorious "video nasties" that were banned in the UK in the '80s. The film also adopts Romero's penchant for social commentary.
While most would classify The Living Dead at Manchester Morgue as a zombie movie without hesitation, it may give pause to those who argue the semantics of a film like 28 Days Later. It doesn't adhere to every "rule" established by Romero, instead making several idiosyncratic deviations from the formula. Manchester Morgue's undead aren't flesh eaters but rather cold-blooded killers. They can infect other corpses with the blood of the living, but they don't transmit it to people. They lumber like conventional zombies yet use weapons to attack their prey. The only way to stop them is to set them on fire, rather than destroying the brain.
The Living Dead at Manchester Morgue was newly restored in 4K from the original 35mm camera negative by Synapse Films for a limited edition Steelbook release in 2020. A standard Blu-ray version — sans DVD, soundtrack CD, booklet, and poster — is now available at a more affordable price. The picture is crisp, complete with the original opening and closing credit sequences, as well as a new 5.1 English stereo surround remix and the original English theatrical mono mix. Although it lacks the archival special features from Blue Underground's 2009 Blu-ray, it offers plenty of fresh ones. Nevertheless, the clarity of Synapse's transfer blows the previous edition out the water.
The disc carries two film historian audio commentary tracks, one with Troy Howarth and another with Nathaniel Thompson and Bruce Holecheck. Despite some overlapping information, both are worth listening for ample insight. Even better is Jorge Grau: Catalonia’s Cult Film King, a feature-length documentary on the director. Along with commentary from Grau, it features input from De Rossi, composer Giuliano Sorgini, and various academics. Manchester Morgue, being his most celebrated work, is a focal point, but the rest of his career is discussed as well. Extras are rounded out by an interview with De Rossi, a 2019 film festival Q&A with De Rossi, the theatrical trailer, two TV spots, and two radio spots.
The Living Dead at Manchester Morgue is available now on Blu-ray via Synapse Films.
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"...AND YOU HATE THE POLICE, DON'T YOU?"
PIC(S) INFO: Spotlight on an ELECTRIC WIZARD art print detailing the sound clip used on their "Wizard in Black" (1997) cut, the second track off of their chaos magick-entranced, stoner/DOOM metal opus, "Come My Fanatics...," and lifted from the Spanish-Italian zombie/sci-fi/horror film "Let Sleeping Corpses Lie" (1974). Artwork by Branca Studio.
PIC #2: The film's Spanish-language poster was titled "No profanar el sueño de los muertos,," lit. "Do Not Profane the Sleep of the Dead"), and was also known as "The Living Dead at Manchester Morgue" and "Don't Open the Window."
Sources: www.picuki.com/media/3277150622551619204, Film Art Gallery, & Wikipedia.
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