 |
The Fearless Vampire Killers, or Pardon Me but Your Teeth Are in My Neck Review At Amazon..
Product: The Fearless Vampire Killers, or Pardon Me but Your Teeth Are in My Neck Amazon Price: Sale Price Too Low To Display Availability: In Stock |
Compare Prices on The Fearless Vampire Killers, or Pardon Me but Your Teeth Are in My Neck
This film is a pure delight. I recently had the opportunity to glance it on the grand cover at a local “movie palace” on Halloween, 2001, and it was a fabulous experience.
Polanski’s intent was to perform a spooky, comical, fairy myth and he fully succeeded. Visually the film is handsome and magical, beefy of moon-lit, snow-covered landscapes and spooky sets. The production values are well-behaved. The music come by by Chrisopher Komeda may be the best ever unruffled for a alarm film. The bag is spooky, haunting and tender by turns, chunky of wailing voices, it sets the mood for the film wonderfully.
The highlight of the film is the ballroom sequence, in which the ghoulish vampires rise from their graves to dance a blooming minuet. This scene is pleasing.
Some people may be too jaded and fair not frigid enough to be pleased this film’s novel charm. Too dreadful for them. Those who are fun-loving, have a bit of innocence and be pleased atmosphere and mood over gore and guts will esteem the film. The cast is uniformly honorable, especially Jack MacGowran and Polanski as the bumbling vampire hunters. And Sharon Tate is heavenly and humorous as the dizzy Sarah.
I haven’t seen all of writer/director/actor/producer Roman Polanski’s films, but the ones I have seen have kind of been hit or miss propositions for me. On the one hand I idea Rosemary’s Baby (1968) to be a wonderfully creepy film, but on the other The Tenant (1976) while keen, I view to be slightly confusing and lacking a strong sense of direction. Chinatown (1974) is acknowledged by many to be a classic (to which I’d agree), while The Ninth Gate (1999) tended to annoy me with a pretentious ambiguity stemming from a European stylization of making a film obtuse and inaccessible to audiences…of course, these are all unprejudiced my beget, personal opinions, which really don’t mean squat in the astronomical intention of things…at the demolish of the day one should really way their hold conclusions based on their enjoy, personal experiences. As far as the film The Gallant Vampire Killers or Pardon Me, But Your Teeth Are in My Neck (1967) goes, I enjoyed it as it served to reaffirmed something which I already knew…whether you like Polanski’s films or not, his features are so very individualistic, rarely transgressing on each other, displaying his immeasurable talents, vision, and his ability to adapt to a wide range of material. Co-written by Gérard Brach (Repulsion) and Polanski (the latter also directed and starred), the film features performances by Jack MacGowran (Tom Jones, Doctor Zhivago), Alfie Bass (The Lavender Hill Mob), Ferdy Mayne (Where Eagles Dare, The Vampire Lovers), Iain Quarrier (Cul-de-sac), and Sharon Tate (Valley of the Dolls), who would later marry Polanski about a year prior to her slay (and that of their unborn child) at the hands of Charles Manson and his cult followers.
As the film opens, it’s a moonlit night, and we sight a horse drawn sled traveling down a snowy road, the occupant of the sled being the driver, Professor Abronsius (MacGowran), and the Professor’s assistant Alfred (Polanski), who, on the surface, appear to be a pair of buffoons, but in such a draw where the same buffoonery that gets them into danger, also pick up them out, illustrated throughout the sage. Seems the Professor, who has long since been labeled `a nut’ by his once colleagues, is traveling the Transylvanian countryside in order to further his knowledge about vampires and their ilk. After arriving at a itsy-bitsy village and availing themselves of the services of the local inn, telltale signs abound with regards to the presence of vampire activity within the dwelling…the interiors of the inn are decorated with strings of garlic cloves, a hunchback arrives at the inn to rep supplies, and so on…and positive enough, not soon after their arrival, the innkeeper’s daughter Sarah (Tate) is abducted, her father killed (and subsequently turned) while searching for her, and the boys are off to a nearby castle in order to gather her, the Professor with an behold towards proving the theories which he’s read, and Alfred more so because he’s become smitten with the girl. They eventually do secure the castle, along with its master, in that of Count von Krolock (Mayne), along with the Count’s very effeminate son Herbert (Quarrier) …quite the aristocratic pair they are…the Professor and Alfred glean themselves guests of the Count and learn of a mammoth gala approaching, one to be held within the castle, a sort of cadaverous celebration where the boys may not only be the guests of honor, but also the main course…
I’ve given some details about the residence, but there’s really no draw what I’ve written displays all the extraordinary aspects inherent within the account and the film itself. There is honest so worthy going on at any one point one could observe this film a number of times and collected sight something novel each viewing. One of the aspects that impressed me the most, from the beginning and throughout the film, was the extensive amount of detail and attention to creating a complete sense of putting the viewer within the context of the memoir. It’s like a fairy record near to life. The period sets and pieces are exquisitely gorgeous and intricate, featuring a serious ogle towards detailing, as are the props, costumes, backdrops, etc. There’s unprejudiced such a pervasive feel to the entire film in terms of providing the appropriate gothic setting, something that old-fashioned to be a popular factor in both Hammer and Universal anxiety productions during their respective heydays…and maintain in mind, this is supposed to a mixing of comedy and panic. And when I say comedy, I don’t mean the laugh out kind (there is a generous deal of slapstick, but that’s not the specific humor I’m talking about here), but a slinky, subtle type of humor blended as well as I’ve ever seen in a deplorable genre film. A perfect example of this pretty melding comes in the sequence when Alfred, while searching the castle rooms for Sarah, accidentally walks in on the Count’s dandy of a son Herbert. The droll touches in Herbert’s coy advances soon erupt into an explosion of fanged violence that results in a Keystone Cops type slip through the castle. Another one of my common sequences is when the Count and his son are preparing to retire to their ornate coffins prior to the sun rising, aided by their hunchbacked manservant Koukol. After they derive settled in (and boxed up), here comes Shagal (Bass), the once innkeeper now vampire, dragging his meager pine box into the crypts with the intent of also settling in for the day. Koukol, seeing this as an affront to his masters, proceeds to unceremoniously fling the coffin, which Shagal is now sitting in, down to the stables, as that’s a seemingly more appropriate setting from someone of his class, with Shagal weakly protesting the entire map. The performances are strong all around, particularly that of Count von Krolock, played by Mayne. He embodies the aristocratic and noxious features one would ask from his character, along with including enough distinctions to separate his character from those of his cinematic ilk. Another extraordinary aspect is the unusual music provided by regular Polanski collaborator and composer Krzysztof Komeda. It’s suave, sophisticated, spooky, moving, oft times understated, and compliments film without actually drawing away from the visuals. All in all this is perhaps one of the best crafted films I’ve seen straddling two genres that normally don’t play well together, and worth a peek for those who can like the expertise keen. In terms of contemporary artists, I might compare this to the better outings by individuals like Terry Gilliam or Tim Burton.
Presented on this DVD is the novel version of the film, the one seen by European audiences. Apparently, prior to the film’s American release, MGM had mangled it heavenly well, removing about ten minutes, adding a fresh opening sequence, and hacking the soundtrack to pieces, which might define why it didn’t do as well here as it did overseas. The anamorphic widescreen (2.35:1) does looks very sterling, but there does seem room for improvement. The Dolby Digital 2.0 mono audio comes through spruce. As far as extras, there’s a theatrical trailer for the film (also presented in 2.35:1 aspect ratio, along with a humorous vintage featurette titled The Valiant Vampire Killers: Vampires 101 (10:18) which appears to be a lengthy promotional allotment created to befriend advertise the film attend when it was originally released.
Cookieman108
Smokeless Cigarettes
Virtual Phone Number
Florida Auto Insurance Quotes
Hostgator Coupons
Electric Cigarette
Roberto Booth