Le bal des vampires

A horror comedy, a parody film about vampire films, with all the clichés of the genre and the scathing humour to boot.

Great art, fresh but claustrophobic, joyful but scary, ending well but maybe not really.

A testament to an era when filmmakers knew how to have fun - and Sharon Tate is a beautiful girl to chew on.

A good moment of cinematographic humour to share in the dark ... but maybe not so dark.

When I first saw this film on TV in the early 70s, I thought it was so cheesy I gave it very little attention. Then in the early 90s it was released on laserdisc in a letterboxed version and I bought it on a lark. After I viewed in the first time I still didn't think much of it and thought maybe I wasted my money. But then, as the years passed, I would look at it every so often and now I love the film. It is an acquired taste. You first have to love vampire films -- the old-fashioned, Gothic kind. Next, you need to appreciate Polanski's style and his understated approach. It's also best to watch this film late at night with the lights off, and especially with a snow storm outside. Give it a chance and this film will creep up on you. Hopefully it will come to DVD soon.

The title "fearless vampire killers" it's not so good as "Dance of the Vampires",outside U.S. this is the original title

I always will remember this film as "Dance of the Vampires" ALSO,CONGRATULATIONS to Mr Polanski for the Palme D' Or, he deserves it(without him just cinema "boring")

I enjoyed poetic scenes such as like moment in Sarah's bath comparing the textures of first soap bubbles, then falling snowflakes, and finally crimson blood. when Alfred(Polanski) carries his master across the castle battlements remind me of Polanski early short films. Krystov Komeda's music has been acclaimed as "the most innovative and haunting score ever devised for a horror movie" by the heavyweight Aurum Film Encyclopedia. Krystof Komeda's wondrous music, with its weird choral effects and little melodies Komeda's score communicates the Kafka-like isolation of the setting and the characters

Polanski chose some of the finest English cinema craft artists to work on the film: cameraman Douglas Slocombe, production designer Wilfrid Shingleton Polanski engaged noted choreographer Tutte Lemkow, who played the actual Fiddler in FIDDLER ON THE ROOF, for the film's climactic Danse Macabre minuet.

Sharon Tate as Sarah was delightful(we should remember her in a good way,as a decent actress and person,her scene with Polanski is really cool ,especially "the bite scene") Jack MacGowran as Professor Abronsius is just great Polanski's films often deal in contrasts of master and servant, the empowered and the powerless. The supposedly benign Abronsius bullies Alfred for his own purposes, just as the vampires consider all of humankind a resource to be harvested.

The character called Shagal got the best lines in the movie,when A woman thrusts a crucifix in his face, only for Shagal - a Jewish rather than a Christian vampire - to go "Oy-yoy! You got the wrong vampire" and bite her anyway Count Von Krolock (Ferdy Mayne, who plays the Count)he looks really as a Nosferatu or a man that needs Transfusion!.

Also funny is Herbert, the openly gay vampire who is interested in Alfred rather than Sara, the sexual deviations implicit in early Hammer films like The Brides of Dracula (1960) and Kiss of the Vampire (1964) are brought out. Hammer would increasingly exploit this in their lesbian

The movie centers upon an old man (Jack McGowran) and a young (Roman Polanski) who go to track down a vampire count (Ferdy Mayne) who has abducted a countrywoman (Sharon Tate) and he hides her into his castle.

The film mingles terror , tongue-in-cheek , rip-roaring , humor , action and a lot of amusement . The runtime motion picture is overlong about two hours and some but isn't boring , but entertaining . Actors interpretation is good , Jack McGowran (being deceased after his playing in ¨The Exorcist¨) is riveting as double of Einstein and Roman Polanski as shy and botcher young is cool . Sharon Tate (marriage to Polanski in real life until Charles Manson massacre) is beautiful and wonderful . Producer Martin Ransohoff discovered Sharon Tate and insisted that director Roman Polanski use her instead of Jill St. John who withdrew shortly before shooting as Polanski had planned .

Originally Roman Polanski wanted to shoot his film on location in and around a castle in Switzerland which he saw during a vacation , but as this was impossible, other locations in the Alps were found, along with studio shoots in England . While on location, Polanski employed dozens of local artisans to make the large numbers of coffins needed in the film . Polanski direction is first-class , Christopher Komeda music (being dead at 31 years after he composed ¨Rosemary's baby¨ music) is fascinating . Douglas Slocombe cinematography is atmospheric and colorful with a Hammer-alike photography . Flick will appeal to Polanski buffs and horror/humor enthusiasts. Rating 7/10 . Above average , well worth watching .

I love Roman Polanski's "The Fearless Vampire Killers," which is surprising to me now because for most of my life I thought it was dreadful. I missed the original release back in 1967, but I was only eight years old then, and the version released in the U.S. was a truncated travesty of what Polanski intended. I've read that the movie was considered an almost complete fiasco because the executive producer, Martin Ransohoff, best known for "The Beverly Hillbillies," wanted a very different film and cut 16 minutes out of Polanski's 107 minute cut, inserted a short cartoon before the titles (so people would know it was supposed to be a comedy; Ransohoff thought Polanski botched it that badly), and even re-dubbed some of the actors. He also added the awful tag line to the title, "Or, Pardon Me, But Your Teeth Are in My Neck." This must have been the version I saw on TV in the early seventies and thought so terrible. Thankfully this abomination doesn't seem to be in circulation anymore. However, despite its flaws "The Fearless Vampire Killers" gained a cult following over the years, to a degree due to the morbid fascination with the murder of Sharon Tate, but also because the movie is really very good. Paramount's Robert Evans recognized this back in '67 and thought Polanski the right director for "Rosemary's Baby." He was right and the success of that film showed Hollywood what a master of the language of film Polanski is.

In 1983 MGM/UA Home Video released Polanski's original cut on cassette and on laserdisc (remember those?). On laserdisc it was letterboxed so you could enjoy the full Panavision frame, and included the alternate main title sequences from the bastardized version as an extra. For some reason, though I wasn't a fan of the film, I thought this was a disc I had to get, but after I first viewed it I wondered if I hadn't wasted my money. I still couldn't see what was so great about it. However, I didn't get rid of the disc and over the past nine years I've viewed the movie several times. I can't remember when I started to appreciate it, but now "The Fearless Vampire Killers" is one of my favorite movies.

Right from the main title sequence this film is really quite wonderful. Christopher Komeda's score is weird and haunting. The day-for-night shots of the snowy countryside are a bit distracting, but kind of fit the fairy tale quality of the film's isolated, late 19th century Transylvanian winter never land. The movie is extremely well-mounted with wonderful sets, especially the vampires' castle. All the performances are excellent. Jack MacGowran's Professor Abronsius is an absolutely incredible characterization, unlike anything else MacGowran ever did on film. The same is true of Alfie Bass' Yoine Shagal, possibly the world's first Jewish vampire, and a terrible lecher. Sharon Tate was probably never lovelier than in this movie, and Roman Polanski is very good as Alfred, in fact amazing when you consider he was also directing. It is a tour de force on his part. Finally, Ferdy Mayne's Count Von Krolock is a king vampire equal to any screen Dracula, while Iain Quarrier is also appropriately creepy as his gay vampire son, Herbert.

Like the drinking of blood (I would imagine!), appreciation of "The Fearless Vampire Killers" is very much an acquired taste. I don't know what to say to those that don't like it except, Why don't you try watching it again? It might grow on you as it did me. This movie also has one of the best one-sheet posters from the sixties, with art by Frank Frazetta. I hope this movie comes to DVD soon, especially with commentary by Polanski, but I've read that MGM considers the elements in need of restoration, so it may be a while. However, it should look great when it does get to DVD. I can't wait.