Dance of the Vampires (The Fearless Vampire Killers, or Pardon Me, But Your Teeth Are In My Neck)
May 7th 2009 06:30
After the brilliant double whammy that was Repulsion (1965) and Cul-de-Sac (1966), director Roman Polanksi indulged in a little recreational skiing in Austria. His faithful screenwriting companion Gerard Brach and he concocted a vampire movie infusing a sense of droll humour.
American producer Martin Ransohoff crossed paths with Polankis and the meeting not only resulted in Ransohoff buying the US distribution rights for Cul-de-Sac, but also lining up a deal at MGM for Polanski’s horror-comedy which was titled Dance of the Vampires (1967). In return Ransohoff would be given final cut for the American release, a decision Polanksi would later regret as Ronsahoff cut nearly twenty minutes from the movie, re-dubbed the voices, altered the music, added a cartoon prologue, and re-titled the movie The Fearless Vampire Killers, or Pardon Me, But Your Teeth Are In My Neck (Polanski tried to have his name taken off the credits, and it remained as Dance of the Vampires throughout Europe).
It is Eastern Europe and eccentric Professor Abronsius (Jack MacGowran), a scholar of vampire studies, and his nervous assistant Alfred (Polanski) arrive in Transylvania under a full moon. Whilst sheltering at a village inn owned by Shagal (Alfie Bass) and his rather plump wife Rebecca (Jessie Robins) they discover garlic hanging everywhere, and low and behold there’s a local castle too. Alfred falls for the innkeeper’s gorgeous daughter Sara (Polanski’s future wife Sharon Tate), but Kukol (Terry Downes), a hideous hunchback has also spotted the redheaded beauty.
Within a day Sara is kidnapped from her bubble bath and whisked away to the castle which belongs to Count von Krolock (Ferdy Mayne). Abronsius and Alfred are in hot pursuit, despite the freezing conditions. As it happens they are made welcome guests at the castle because the Count has an admiration for Abronsius’s literature. Alfred continues to court Sara, but the Count’s son Herbert (Iain Quarrier) has lecherous intentions toward gentle sensitive Alfred.
The Professor and Alfred try desperately to stake the Count, his son, and the infected innkeeper, who has taken up residence in the castle’s coffins, and rescue fair Sara. As it turns out dozens of undead villagers are also dwelling at the castle. Will the ballroom dance be the fearless vampire killers’ last chance, or will they join the legions of the undead and be immortalized?
Polanski’s early silent shorts served him brilliantly in the narrative so that much of the action is without dialogue. While much of the comedy comes from visual gags, they aren’t thrust down the audience’s throat, or cued by the soundtrack. Instead the humour is delivered more through absurd facial expressions, wry moments of caricature, and ironic juxtaposition of scenes, even mise-en-scene. Polanski’s deft handling of the humour and the horror enables him to create a thoroughly unique and distinctive atmosphere. Polanski has been quoted as saying that above all else atmosphere is a film’s most important element.
The casting is excellent; MacGowran, who stole his scenes in Cul-de-Sac, threatens to do so here in his Einstein guise, but he’s perfectly foiled by Polanski’s bumbling, anxious sidekick. Alfred fears the vampires (which only shows how ludicrous the American title of the movie is), but it is the Professor’s absurd enthusiasm for their grimly heroic task that adds fuel to Alfred’s lovesick fire.
Mayne’s creepy take as the vampire patriarch, who amusingly refers to himself as a shepherd and his flock, is another of the cast highlights; his descent through the inn’s skylight a truly memorable moment. Of course, special mention must go to Sharon Tate who replaced Jill St. John just prior to shooting. Polanski’s initial concerns that Tate wouldn’t be convincing as a Jewish lass were quickly expelled (tragically she was savagely murdered by members of the Charles Manson family three years later).
The production design is fantastic, with beautiful use of exterior matt paintings and elaborate interior sets; while the special effects are suitably theatrical (the vampire fangs are given their own credit to a Dr. Ludwig von Krankeit). And one mustn’t forget the hilarious transformation of the famous MGM lion into an animated vampire with blood dripping from its fangs. On the Region 1 DVD I own there is a curious, and rather amusing, original trailer that doubles as a "Vampire 101" class, a short film in itself, however it wasn't directed by Polanski.
For many years Polanski regarded Dance of the Vampires (along with Cul-de-Sac) as the personal favourite of his movies, admiring its simplicity and an innate air of innocence. Polanksi looks so young in the movie, almost like a teenager, yet he was already 33! It is this youthful exuberance and Polanski’s European sensibilities that encapsulate the movie and gives it such a rustic vintage charm.
Here's the vampire 101 short film-cum-extended trailer:
American producer Martin Ransohoff crossed paths with Polankis and the meeting not only resulted in Ransohoff buying the US distribution rights for Cul-de-Sac, but also lining up a deal at MGM for Polanski’s horror-comedy which was titled Dance of the Vampires (1967). In return Ransohoff would be given final cut for the American release, a decision Polanksi would later regret as Ronsahoff cut nearly twenty minutes from the movie, re-dubbed the voices, altered the music, added a cartoon prologue, and re-titled the movie The Fearless Vampire Killers, or Pardon Me, But Your Teeth Are In My Neck (Polanski tried to have his name taken off the credits, and it remained as Dance of the Vampires throughout Europe).
It is Eastern Europe and eccentric Professor Abronsius (Jack MacGowran), a scholar of vampire studies, and his nervous assistant Alfred (Polanski) arrive in Transylvania under a full moon. Whilst sheltering at a village inn owned by Shagal (Alfie Bass) and his rather plump wife Rebecca (Jessie Robins) they discover garlic hanging everywhere, and low and behold there’s a local castle too. Alfred falls for the innkeeper’s gorgeous daughter Sara (Polanski’s future wife Sharon Tate), but Kukol (Terry Downes), a hideous hunchback has also spotted the redheaded beauty.
Within a day Sara is kidnapped from her bubble bath and whisked away to the castle which belongs to Count von Krolock (Ferdy Mayne). Abronsius and Alfred are in hot pursuit, despite the freezing conditions. As it happens they are made welcome guests at the castle because the Count has an admiration for Abronsius’s literature. Alfred continues to court Sara, but the Count’s son Herbert (Iain Quarrier) has lecherous intentions toward gentle sensitive Alfred.
The Professor and Alfred try desperately to stake the Count, his son, and the infected innkeeper, who has taken up residence in the castle’s coffins, and rescue fair Sara. As it turns out dozens of undead villagers are also dwelling at the castle. Will the ballroom dance be the fearless vampire killers’ last chance, or will they join the legions of the undead and be immortalized?
Polanski’s early silent shorts served him brilliantly in the narrative so that much of the action is without dialogue. While much of the comedy comes from visual gags, they aren’t thrust down the audience’s throat, or cued by the soundtrack. Instead the humour is delivered more through absurd facial expressions, wry moments of caricature, and ironic juxtaposition of scenes, even mise-en-scene. Polanski’s deft handling of the humour and the horror enables him to create a thoroughly unique and distinctive atmosphere. Polanski has been quoted as saying that above all else atmosphere is a film’s most important element.
The casting is excellent; MacGowran, who stole his scenes in Cul-de-Sac, threatens to do so here in his Einstein guise, but he’s perfectly foiled by Polanski’s bumbling, anxious sidekick. Alfred fears the vampires (which only shows how ludicrous the American title of the movie is), but it is the Professor’s absurd enthusiasm for their grimly heroic task that adds fuel to Alfred’s lovesick fire.
Mayne’s creepy take as the vampire patriarch, who amusingly refers to himself as a shepherd and his flock, is another of the cast highlights; his descent through the inn’s skylight a truly memorable moment. Of course, special mention must go to Sharon Tate who replaced Jill St. John just prior to shooting. Polanski’s initial concerns that Tate wouldn’t be convincing as a Jewish lass were quickly expelled (tragically she was savagely murdered by members of the Charles Manson family three years later).
The production design is fantastic, with beautiful use of exterior matt paintings and elaborate interior sets; while the special effects are suitably theatrical (the vampire fangs are given their own credit to a Dr. Ludwig von Krankeit). And one mustn’t forget the hilarious transformation of the famous MGM lion into an animated vampire with blood dripping from its fangs. On the Region 1 DVD I own there is a curious, and rather amusing, original trailer that doubles as a "Vampire 101" class, a short film in itself, however it wasn't directed by Polanski.
For many years Polanski regarded Dance of the Vampires (along with Cul-de-Sac) as the personal favourite of his movies, admiring its simplicity and an innate air of innocence. Polanksi looks so young in the movie, almost like a teenager, yet he was already 33! It is this youthful exuberance and Polanski’s European sensibilities that encapsulate the movie and gives it such a rustic vintage charm.
Here's the vampire 101 short film-cum-extended trailer:
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Comment by Damo
How am I meant to overcome my addiction to this Horror flick when you keep putting temptation in my path.
Love the mocumentary.
Star of David. "...You'll only provoke the fellow." Hahaha.
Now that is funny.
Comment by Bryn
Horrorphile
Comment by Damo
I also liked Blackular so that sums up my sense of taste.
(I thought it was comedy too)
Comment by Cheryl J
Rhythmatism
Zentertainment
Budget Centsability
God Sharon Tate was beautiful. I doubt that even a horror writer could have thought up a death as macabre and horrible as hers.
Did they cut the twenty minutes as they thought it was extraneous (Polanski movies can be a bit overlong) or just to butcher it? I'd rather see the original cut if it's available.
So is it on DVD here as 'The Fearless Vampire Killers' or the other ridiculous name?
Damo, Blacula is a classic!
PS: You do know Bryn that I'm going to have to steal this and do my own review. Camp vampire - love it!
Comment by Lilla
From The Home Front
Enviro Warrior
Dream Herald
Esoteric Bookshop
(((hillarious))) I just love that Montague fellow, I could listen to him talk for hours *giggle* sooo funny, I won*t need to see the film now, although if I ever see this film displayed in my horrible sadistic fracnhise Video Ezy Dungeon of a store, which repeatedly tortures me with its lack of arthouse selections, offering only the hot irons of your latest commerical crap releases, I will grab it.
Lilla ..
Comment by Bryn
Horrorphile
It wasn't until I watched this movie that I also realised just how stunning Sharon Tate was, I'd always thought of her as a rather ordinary blonde.
Apparently the American producer tried to turn the movie more into a comedy, so he probably cut the comedic scenes closer together, plus he added a "Pink Panther" styled comic animation sequence at the beginning explaining the leads characters as vampire killers. I believe it's possible to get a Region 4 edition of the movie, I think it's a doubled up with another movie, try EZYDVD.com.au
Curious to know what you think.
Lilla, you never know, you might be lucky!
Comment by Anonymous
Comment by Bryn
Horrorphile
Comment by Lilla
From The Home Front
Enviro Warrior
Dream Herald
Esoteric Bookshop
A Msterious message for you from beyond the grave, of orblers gone and I have no means of PM~ing it to you. .
What should I do.
Lilla ..