Radiator Heaven: The Fearless Vampire Killers
The Fearless Vampire Killers, or Pardon Me, But Your Teeth Are in My Neck The two hunters come to a small village seemingly at the end of a long search for signs of vampires. .. Mayne had served as a witness at her marriage in Ending / spoiler for The Fearless Vampire Killers (), plus mistakes, quotes, trivia and more. Despite Ransohoff's changes, The Fearless Vampire Killers remains one of the most visually dazzling and entertaining horror parodies in the history of the genre .
Live, they promise to "build on the blood-flecked theatrics" of their debut album, with "creatures from their fantasy world inhabiting stages across the land". Well, take a listen to that album first. Maybe because they lacked the cojones to go all the way, or maybe because they actually, you know, like metal.
Could a blindfolded person be able to tell this apart from Lostprophets, ie the Real Thing?
The Fearless Vampire Killers - Wikipedia
Besides, we're wondering, is metal still open to parody? Are there still bands out there urging us to run to the hills or bring our daughter to the slaughter? We keep waiting for the dead pun intended obvious parodies, the side-splitting satires, but they don't come, and even if they did, what would be the point?
We can sort of see what they're aiming for on Pleasure of the Pain: That they're insufficiently accomplished to achieve this is hardly their fault, but we do wish they hadn't set us up for such a crushing disappointment, because we had our toy fangs and blood capsules ready and everything.
Gene Gutowski the film's European producer rightly suspected that the Italians were robbing us blind. It brought to light the fairy-tale interest that he has. One was conscious all along when making the picture of a Central European background to the story. Very few of the crew could see anything in it - they thought it old-fashioned nonsense.
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But I could see this background I have a French background myself and could sense the Central European atmosphere that surrounds it. The figure of Alfred is very much like Roman himself—a slight figure, young and a little defenseless—a touch of Kafka. It is very much a personal statement of his own humor as he used to chuckle all the way through the scenes.
MGM Head Editor Margaret Booth and Head of Theatrical Post Production Merle Chamberlain cut 12 minutes worth of material, and along with adding the animated prologue among other changes, the character of Professor Abronsius was re dubbed to give him a goofy, cartoony voice that would suit the "kooky" tone of the film.
This was the version most commonly seen in the US until it vanished from circulation in the mid 70's. Polanski gradually eases us into the main story by sprinkling little moments of comedy among a study of the villagers as a hard-working, superstitious lot.
He was no doubt captivated by her considerable beauty, and this is evident in the way he films her, with close-ups that highlight her radiant face. Almost 25 minutes in and Polanski masterfully orchestrates a riveting scene where, while taking a bath, Sarah is attacked from above by Count von Krolock Ferdy Mayne that begins with her noticing flakes of snow falling around her.
Krolock appears and savagely bites her neck. As she struggles desperately, Polanski shows the splashing bath water drenching the nearby door, which an unsuspecting Alfred is behind.
It is a sudden, jarring attack that is very effective in shaking things up after all the light comedy that came before it. It is a sequence that best typifies the film as a whole — the deft marriage of horror and comedy.
Abronsius is a methodical, wise old man but also physically frail, and Alfred is his bumbling, timid apprentice. Jack MacGowran and Polanski play well off each other with the former trying to teach his assistant the ways to detect and kill vampires because he is getting too old physically, while the latter is too clumsy to do the job, stumbling over each other, bumping into things and generally being inept.
They have their moments of competency, though, like when Alfred gracefully skis down the snow-covered countryside in pursuit of a newly turned bloodsucker. Polanski remembered seeing horror movies in Paris and audiences laughing at them.
As they were putting the finishing touches on Cul-de-Sac, the latter met with American producer Martin Ransohoff, joint head of Filmways, a production company financed by and had a distribution deal with MGM. He liked Cul-de-Sac and agreed to distribute it in the United States.