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DVD The Fearless Vampire Killers, or Pardon Me but Your Teeth Are in My Neck
One of Roman Polanski's more overt comedies, this 1966 monster spectacle stars Jack MacGowran and Polanski as a clunky but heroic pair of vampire killers. Called upon to rescue the beautiful and buxom daughter (Sharon Tate) of an innkeeper from a Draculalike bloodsucker, the duo muddle through all sorts of scrapes, the most intense being a scene in which a room full of dancing vampires realize the human interlopers are the only ones in the room who are reflected in a mirror. Scary and funny, the film has some unforgettable set pieces, a terrific score, one of the few records of Tate's extraordinary beauty, and vibrant performances. Not exactly Polanski in a relaxed mode, but clear evidence of his estimable skills as a director of both brilliance and polish. --Tom Keogh
Review(s): DVD The Fearless Vampire Killers, or Pardon Me but Your Teeth Are in My Neck
A True Gem
Roman Polanski. A man that is as equally famous for his admirable films such as Rosemary's Baby and The Pianist as he is infamous for his bizarre personal life. While many of his films are praised as timeless masterpieces, one of his wonderful pictures seems to have been somewhat forgotten. This film is the marvelous The Fearless Vampire Killers.
After the classic MGM lion morphs into a bloodsucking little devil, The Fearless Vampire Killers or: Pardon Me, But Your Teeth Are In My Neck (a.k.a. Dance of the Vampires) begins with a striking opening credit sequence set to Christopher Komeda's hauntingly memorable score.
The story follows the eccentric professor Abronsius (MacGowran) and his young assisstant Alfred (Polanski) as they arrive in Transylvania in search of the object of their studies: vampires. They become entangled in a ghoulish plot involving a Jewish innkeeper (Bass), his comely young daugher (Tate (who would later be wedded to Polanski)), the Dracula-esque Count Von Krolock (Mayne), his eloquent son (Quarrier), and a ghastly ball at the Count's remote castle.
Polanski drenches the film in a remarkably well maintained atmosphere that is an equal mixture of fairy tale and horror, similar to that of the classic Christmas short Santa Claus Is Comin' To Town. This is due largely to my favorite aspect of the film, the absolutely gorgeous visuals. The snow-capped mountains and winter skies make for a lush tapestry in which to set a vampire film. The interior set pieces are fantastic as well, perfectly recreating the aesthetics of a gothic castle and a small inn.
Everything about Killers really is remarkable; it is a wonder to me why it is so vastly underrated. The acting is simply impeccable. Jack MacGowran is probably the highlight of the cast playing the loveable professor Abronsius. His portrayal delightfully conveys his character's giddy curiosity and boyish glee with a funny and likeable comic flair that only Peter Sellers could rival. But also notable is a young Roman Polanski in a spirited and obviously dedicated performance as Alfred and Ferdy Mayne, whose sophisticated, nuanced portrayal of the vampirous Von Krolock could give even Bela Lugosi a run for his money. And the hilarity of Alfie Bass is only topped by MacGowran.
Polanski handles the violent side of the subject matter in a manner full of delicious innuendoes, as it all seems to involve some form of penetration or some other double entendre. For instance, in one scene, a young woman is bitten on the throat while bathing, and the scene slowly escalates before finally climaxing in an ejaculation of soapy water. This, unlike in many other vampire films, is also not limited to strictly a male/female dynamic, either.
Another thing that undeniably enhances the film's epic experience is Christopher Komeda's breathtaking aforementioned score, which features a strange mix of eerie choir vocalizations, slinky bass, and immaculate orchestral arrangements.
On top of all this, the ending is one that defies convention. You won't see it coming - at least I didn't.
The Fearless Vampire Killers is a film that is as creepy as it is funny. A sparkling gem that has somehow become partially obscured in celluloid history. How this happened I will never understand, but this is a motion picture I give my highest recommendation and I strongly urge you to see it if you have not already.
9.5/10
Who Says Vampires Are No Laughing Matter?
Into Transylvania come a doddering and incompetent Van Helsing figure (Jack MacGowran) and his timorous, clumsy assistant (Roman Polanski). When Sharon Tate, the daughter of the local innkeeper, is abducted by vampire Count Von Krolock (Ferdy Mayne), MacGowran and Polanski travel to the vampire's castle, where plenty of misadventures ensue.
Polanski's affection for the films he is parodying is evident, and this is a much better film than, say, Dracula: Dead and Loving It. It boasts, among other things, a remarkable sound design, and one of the most haunting soundtracks EVER. There are also such classic moments as the peasant girl uselessly waving a crucifix at a Jewish vampire. Audiences expecting a laff-a- minit-riot will be disappointed by the film's measured pace, but the look of the movie and the throwaway details make it hugely engaging. Though the title is what the re-cut American release was saddled with (the original title is Dance of the Vampires, this is the uncut movie (shorn of the silly cartoon that preceded the credits of the American version).
Disappointingly little. "Vampires 101" is a promo featurette in the form of a comedy short, and there's the theatrical trailer. Though the removal of the cartoon from the feature itself was the right thing to do, it could at least have been kept on the disc as an extra. The menu's main screen and intro are animated and scored.
Polanski happily makes himself ridiculous in this clever, affectionate, and still very gothic spoof. One can't help but feel the touch of poignant tragedy in the scenes between him and the beautiful Sharon Tate.
Stunning . . .
I'm stunned, STUNNED, at all the 4 and 5 star reviews of this film. Watching it, I found it to be beautiful and atmospheric in its sets and cinematography. It is a shame it wasn't a full on horror film, ala Hammer Films. The two younger women in the film are nice to look at, Sharon Tate especially. However, this film is supposed to be a comedy, and it is painfully unfunny. One mild chuckle at best, and now I am hard pressed to remember what that was for. Looking for some reassurance of my opinion, and finding little here, I read Roger Ebert's original 1968 review for the film at www.rogerebert.com. The review is funnier than the film, and it's not one of Ebert's funnier reviews.
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