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While investigating the
magic practices of the ancient Etruscans, Professor Ayres (Raimondo Barbieri)
unearths a ghastly discovery. When he heads back to the isolated crypt
where he has been conducting his dig, he unwittingly revives the dead. As
the dead rise from their graves to descend up on the living, the night of
terrors begins. The next day, a group of friends join George (Roberto Caporali), his new wife Evelyn (Mariangela Giordano), and stepson Michael (Peter Bark), at their country mansion for a weekend getaway. Professor Ayres, who is nowhere to be found, had summoned them all there. So as they await his arrival, they decide to enjoy the solitude and beauty of their surroundings, but little do they know that the dead now walk. As the frolicking continues, the ground
beneath starts to give way to the resurrected Etruscans who are looking for
their next meal. Horrified by the sight of these decaying corpses, the remaining
guests make their way back to the villa and barricade themselves in. As
night falls, they begin searching for answers, and a way out, while masses of
armed zombies gather outside. Their chance finally comes when the undead
overrun the house and they are able to make a break for a local monastery. But will they find sanctuary in these holy walls???
Also known as ”The Nights of Terror,” ”Zombie Horror” and
“Zombie 3,” ”Burial Ground” is pure cheese and easily a guilty pleasure
of mine. You will either find yourself loving it or hating it, because it is
just that type of film. Sure, it
isn’t ”Dawn of the Dead” or ”Zombie,” but in my opinion it is a film
that any self-respecting zombie fan should search out and watch. Andrea Bianchi
directed this film and many have gone on record as citing it as the ultimate
rip-off film in the Italian zombie genre. Sure, he tries to recreate many
classic scenes from the films of Fulci and Romero, but I think this film is just
paying homage to this sub- genre. Hack, maybe, but still highly entertaining.
The atmosphere, gore, and zombies (a la the “Blind Dead” series) are more
than adequate, although the soundtrack can be a little tedious at times. The
special effects , provided by Fulci veteran Gino De Rossi (“Zombie,” ”The
City of the Living Dead,” “House by the Cemetery”), prove to be very
effective for this low-budget zombie romp.
Now, I have purposely left out one major and disturbing plot point, so
not to spoil your viewing pleasure, but if you really need to know what it is,
just read practically any other review of the film and I am sure it will be
highlighted. Give this film a chance!!!!
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In
a small theater in Rome, a parapsychology conference
is shown underway. Center stage on
exhibit is Helga Ulman (Macha Meril), a medium demonstrating her talents
of telepathy. As she moves through the standard parlor tricks of any good
psychic, she is struck by an overwhelming sense of pure evil emitting from a
member of the audience. Falling in and out of a trance-like state, Helga seems
to play witness to this person’s murderous past and hysterically warns, “you
have killed and you will kill again.” Visibly shaken by these events, she promises to reveal the killer’s
identity the next day. Later that night, she is viciously attacked and murdered
by a cleaver-wielding madman, but not before her neighbor, jazz pianist Marc
Daly (David Hemmings), is reeled into this deadly game. After
hours of questioning by the cops, Marc is released and returns to the scene of
the crime. As he walks the chilling corridors of Helga’s apartment, he gets a
strange feeling that he’s seen something vital, but can’t recall what it is.
Later he meets up with news reporter Gianna Brezzi (Daria Nicolodi) and they
both agree to work together in solving this crime, but will this partnership
prove lethal?? As
the chase continues, the killer always seems to be one step ahead of both Marc
and Gianna, toying with them much like a cat does with its prey.
Each lead brings more death as they move closer to revealing the
killer’s identity. Finally, Marc realizes that the truth may be much closer
than he originally thought, so he decides to return to the scene of the crime.
This
film proved to be a turning point in the career of Dario Argento. After firmly
establishing himself with such giallo classics as ”The Bird with the Crystal
Plumage,” “Cat’ O Nine Tails,” and ”Four Flies on Grey Velvet,”
Dario was looking to expand his exploration into the nightmarish world that
haunted his dreams. By confronting these demons, he could exercise them in a
creative fashion. It is through this maturation process that we see the birth of
Argento’s trademark visual stylistic approach.
“Deep Red” also marked the first time Dario and Goblin worked
together on a film soundtrack, and I know there isn’t a soul out there who
will deny the power of this collaboration.
As important as the images are in telling the story, and the music is in
accenting the atmosphere, the melding of these two emotional media in a seamless
harmony of darkness helped to produce an unparalleled masterpiece.
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In
a small theater in Rome, a parapsychology conference
is shown underway. Center stage on
exhibit is Helga Ulman (Macha Meril), a medium demonstrating her talents
of telepathy. As she moves through the standard parlor tricks of any good
psychic, she is struck by an overwhelming sense of pure evil emitting from a
member of the audience. Falling in and out of a trance-like state, Helga seems
to play witness to this person’s murderous past and hysterically warns, “you
have killed and you will kill again.”
Visibly shaken by these events, she promises to reveal the killer’s
identity the next day. Later that night, she is viciously attacked and murdered
by a cleaver-wielding madman, but not before her neighbor, jazz pianist Marc
Daly (David Hemmings), is reeled into this deadly game. After
hours of questioning by the cops, Marc is released and returns to the scene of
the crime. As he walks the chilling corridors of Helga’s apartment, he gets a
strange feeling that he’s seen something vital, but can’t recall what it is.
Later he meets up with news reporter Gianna Brezzi (Daria Nicolodi) and they
both agree to work together in solving this crime, but will this partnership
prove lethal?? As
the chase continues, the killer always seems to be one step ahead of both Marc
and Gianna, toying with them much like a cat does with its prey.
Each lead brings more death as they move closer to revealing the
killer’s identity. Finally, Marc realizes that the truth may be much closer
than he originally thought, so he decides to return to the scene of the crime.
This
film proved to be a turning point in the career of Dario Argento. After firmly
establishing himself with such giallo classics as ”The Bird with the Crystal
Plumage,” “Cat’ O Nine Tails,” and ”Four Flies on Grey Velvet,”
Dario was looking to expand his exploration into the nightmarish world that
haunted his dreams. By confronting these demons, he could exercise them in a
creative fashion. It is through this maturation process that we see the birth of
Argento’s trademark visual stylistic approach.
“Deep Red” also marked the first time Dario and Goblin worked
together on a film soundtrack, and I know there isn’t a soul out there who
will deny the power of this collaboration.
As important as the images are in telling the story, and the music is in
accenting the atmosphere, the melding of these two emotional media in a seamless
harmony of darkness helped to produce an unparalleled masterpiece.
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George
(Ray Lovelock), the young proprietor of an oddity shop which specializes in
occult items, has packed up his things and decides to head off to the
countryside for some much needed rest. Along the way, his journey is interrupted
when a young women accidentally backs over his motorcycle at the local petroleum
stop. Reluctantly, Edna (Cristina Galbó) agrees to give George a lift to
Windermere so he can meet up with some friends.
Just
as their adventure is about to come to an end, Edna asks George to make a quick
stop at her sister’s home in Southgate so that she can take care of some
family business. One wrong turn later, the two find themselves lost and decide
to stop by at local farm for some directions. While George makes his way up to
the house, Edna waits nervously back at the car. Along the way, George becomes
aware of high-pitch humming noise coming from a machine that he later finds out
is being tested to kill insect and parasites. Back at the car, Edna notices a
strangely eerie figure making it way toward her and before she knows it, she is
attacked by what seems to be a lifeless corpses driven only by in its’ lust to
kill. Barely escaping Edna runs screaming into George’s arms and learns that
her attacker was the recently deceased tramp known to the locals as “Guthrie
the Loony”.
With night approaching, they set off again for Edna’s sister home.
Elsewhere, Edna’s sister Katie (Jeannie Mestre), a drug addict who suffers from mental problems, witnesses the brutally murdered of her husband at the hands of Guthrie. Just as George and Edna arrive, a hysterical Katie confronts them with the gruesome details of this ghastly crime. As the police are called to the scene in steps a tough bigot Irishman, Inspector McCormick (Arthur Kennedy) who seems hell bent on locking up Katie and any other hippie that gets in his way, but Edna, knowing that her sister is incapable of such an act, decides to seek out the truth. As their search leads them through the dusty crypts of the local cemetery, can they truly be prepared for what may be waiting for them at the Morgue???
This
well-paced, highly imaginative, intelligent zombie-fest had gone undiscovered by
most horror fans for many years and only recently has been introduced to the
masses with Anchor Bay’s re-release. Harkening back to the social commentary
of “Night of the Living Dead”, Spanish director Jordi Grau’s (“Love
Letters of a Portuguese Nun”) own “Let Sleeping Corpses Lie” (aka “The
Living Dead at Manchester Morgue”) plays on themes in the social, ecological,
and political arenas while provide its viewers with a thrilling trip to the
grave and back. If you are looking to enter the wonderful world of Eurohorror,
while at the same time getting you greasy little paws on one of the top ten
zombie films
of all-time, pick up “Let Sleeping Corpses Lie” immediately!!!! |
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The House of Horrors is © by Internet Zombie Productions, 1997-PRESENT, all rights reserved. All other mentioned entities within this domain belong to their respective copyright owners and will not be infringed upon herein. |
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Wow, I just recently
re-discovered the joys of the Eurohorror scene. I probably have watched hundreds of
European horror films, but none really made any impression on me until recently. Some may
ask "what is Eurohorror"? The definition I use to define Eurohorror is quite
simple, it is those movies that came out of the European community in the late 60's up
through early to late 80's. These films exhibit a lot of sex (especially lesbian) and
nudity, a lot of gore, and especially a lot of alternative imagery. It is these
ingredients that have attracted me to genre and it pretty much serving as one of the only
true new outlet for horror that I find interesting today. I believe the internet will
serve to educate many horror fans about these outstanding classic, because it did for me
and that is basically what I plan to do with this page. Below is a sampling of the
Eurohorror that I have enjoyed watching. This is not to say that every Eurohorror movie I
watch is an instant classic, but that these films have brought a rejuvenated freshness to
my love of horror. Please, I am aware that many of you are more knowledgeable of these
movies than I, so please 
