 |
The Fearless Vampire Killers, or Pardon Me but Your Teeth Are in My Neck Movie is available at a very good price!.
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 study it on the gigantic mask at a local “movie palace” on Halloween, 2001, and it was a improbable experience.
Polanski’s intent was to do a spooky, silly, fairy narrative and he fully succeeded. Visually the film is heavenly and magical, fat of moon-lit, snow-covered landscapes and spooky sets. The production values are superior. The music pick up by Chrisopher Komeda may be the best ever serene for a dread film. The bag is spooky, haunting and tender by turns, stout 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 resplendent minuet. This scene is resplendent.
Some people may be too jaded and honest not cold enough to savor this film’s recent charm. Too awful for them. Those who are fun-loving, have a bit of innocence and savor atmosphere and mood over gore and guts will worship the film. The cast is uniformly reliable, especially Jack MacGowran and Polanski as the bumbling vampire hunters. And Sharon Tate is resplendent and amusing 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 notion 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 unbiased my bear, personal opinions, which really don’t mean squat in the huge arrangement of things…at the destroy of the day one should really scheme their contain conclusions based on their have, personal experiences. As far as the film The Mettlesome 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 destroy (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 examine 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 map where the same buffoonery that gets them into danger, also collect them out, illustrated throughout the tale. 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 petite village and availing themselves of the services of the local inn, telltale signs abound with regards to the presence of vampire activity within the set…the interiors of the inn are decorated with strings of garlic cloves, a hunchback arrives at the inn to accept supplies, and so on…and distinct 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 accumulate her, the Professor with an stare towards proving the theories which he’s read, and Alfred more so because he’s become smitten with the girl. They eventually do earn 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 bag themselves guests of the Count and learn of a immense 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 station, but there’s really no design what I’ve written displays all the astonishing aspects inherent within the epic and the film itself. There is objective so great going on at any one point one could study this film a number of times and collected survey something unique 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 yarn. It’s like a fairy anecdote approach to life. The period sets and pieces are exquisitely gorgeous and intricate, featuring a serious see towards detailing, as are the props, costumes, backdrops, etc. There’s honest such a pervasive feel to the entire film in terms of providing the appropriate gothic setting, something that extinct to be a current factor in both Hammer and Universal scare productions during their respective heydays…and preserve in mind, this is supposed to a mixing of comedy and anxiety. And when I say comedy, I don’t mean the laugh out kind (there is a salubrious 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 imperfect genre film. A perfect example of this glorious 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 comical touches in Herbert’s coy advances soon erupt into an explosion of fanged violence that results in a Keystone Cops type accelerate through the castle. Another one of my celebrated 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 catch 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 skedaddle 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 plot. The performances are strong all around, particularly that of Count von Krolock, played by Mayne. He embodies the aristocratic and wrong features one would request from his character, along with including enough distinctions to separate his character from those of his cinematic ilk. Another unbelievable aspect is the unusual music provided by regular Polanski collaborator and composer Krzysztof Komeda. It’s suave, sophisticated, spooky, fascinating, 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 witness 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 modern 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 unique opening sequence, and hacking the soundtrack to pieces, which might elaborate why it didn’t do as well here as it did overseas. The anamorphic widescreen (2.35:1) does looks very suitable, 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 laughable vintage featurette titled The Audacious Vampire Killers: Vampires 101 (10:18) which appears to be a lengthy promotional section created to assist advertise the film benefit when it was originally released.
Cookieman108
0 responses so far ↓
There are no comments yet...Kick things off by filling out the form below.
Leave a Comment