User Reviews

The famous Professor Abronsius (Jack MacGowran) and his clumsy assistant Alfred (Roman Polanski) travel to the remote Transylvania to research vampires. They are hosted in an inn by Shagal (Alfie Bass) and sooner the shy Alfred falls in love for the inn-keeper's red-haired daughter Sarah (Sharon Tate). When Sarah is abducted by the mysterious Count von Krolock (Ferdy Mayne), Professor Abronsius and Alfred head to his creepy castle. The duo of scientists are welcomed by the count and his gay son Herbert (Iain Quarrier) and invited to a vampire ball late night.

"Dance of the Vampires" is my favorite parody of vampire movies ever. The first time I saw it on the 60's or 70's, I felt in love for Sharon Tate and for this movie. I have watched "Dance of the Vampires" many times, and the last time was on 08 June 2003, when I voted ten (10) in IMDb. Yesterday I saw "Dance of the Vampire" again, and now I found it a little dated but still excellent. The beauty of Sharon Tate is still very impressive and very few actresses in cinema history are as beautiful as she. Roman Polanski performing an awkward assistant; Jack MacGowran in the role of the dedicated professor that accidentally "spread the evil around the world"; Alfie Bass in the role of the wolf inn-keeper Shagal; Terry Downes and his unforgettable servant Koukol; Ian Quarries and his performance as Herbert, the gay vampire-son of the count; and Ferdy Mayne in the role of the creepy Count von Krolock, all of them are still awesome in their stunning performances. From the arrival of the frozen professor to the village to the departure of the same professor bringing two vampires in his sleigh, there are many hilarious and unforgettable scenes. My vote is nine.

Title (Brazil): "A Dança dos Vampiros" ("The Dance of the Vampires")

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.

Well, what is this movie about? To begin with: although the vampire was best popularized in the modern era by English writers, it is really a myth of Eastern European Roman Catholicism. (I could explain that better - and why the English so well co-opted it - but obviously not here.) This type of Catholicism (which finally produced a Pope in John Paul II) now only thrives (and none too well) in Poland - Polanski's home country. During the Second World War, Poland was utterly decimated. First, a large portion of its wealthiest citizens, who happened to be Jewish, were exterminated. The Polish catholics themselves were split radically between anti-semitic nationalists (who also, mistakenly, thought the Nazis would save them from the Russians) and pro-Communists who, mistakenly, thought the Russians would save them from the Nazis. Obviously, this was a no-win situation for the Poles. And yet the first cinematic impression of this disaster arrived in the form of - a comedy - Ernst Lubitsch's "To Be Or Not To Be" (later remade by Mel Brooks).

Does the reader really need to know all this to appreciate this movie? actually, yes. This film is laughter at death's door. The funniest and most memorable line in the film is from the Jewish vampire, responding to a threatened crucifix: "Oy vey, have you got the wrong vampire!" Funny? - Hilarious. Unfortunately, if this Vampire had any grandchildren, they all died in Auschwitz.

Why am I playing such a heavy hand here? Because this really is a great horror-comedy, far better and far more important than the studio hacks at MGM who released this film (after chopping it up) could ever have understood.

There is unfortunately no rumor that there's a director's cut in the vaults; it is well to remember that Polanski nearly disowned this film on release, and really only reclaimed it after the brutal slaying of his wife, who plays such an important role in the film.

But even as shredded as it is (pay especially close attention to the discontinuities involving the Professor), this is still marvelously written, directed, and photographed - truly frightening at moments, utterly hilarious at others, but always grounded in a particularly Polish sensibility which is now, alas, a thing of the past; - the preservation of a culture that, at its best, was among the best in Europe.

This isn't the best horror/comedy. Mel Brooks' Young Frankenstein is. However, second place has just got to go to this one, and there's no shame in being second here. I don't know too much about Roman Polanski's career (I think I know more about his personal life): I've seen Rosemary's Baby and Chinatown, and FVK is the third of his that I've seen. I would never have imagined from those two movies that he could direct comedy, and thus I came into FVK very skeptical. At first, I thought that the laughs were few and far between. I also thought that Polanski's direction was too showy for a comedy. But as the film went on, the comic moments began to build. And the showy direction ceased seeming showy and began to seem wonderful. If you find yourself not laughing a lot, it's understandable. Just sit back and enjoy Polanski's amazing direction. And the laughs, although, to many, they may seem too few, those that there are are enormous. I'd also like to praise the actors, including Roman Polanski himself. The set design, especially in the castle, is more than amazing. It's simply beautiful. The film has a few slow spots, and the end is particularly disappointing. Polanski himself would probably be angry at me for rejecting his ending, but it's not the finale that I object to so much as the weak climax. The suspense (yes, suspense is plentiful in this comedy) was building so well during that climactic sequence, and it doesn't pay off.

And I really don't want to give too much away, because everything is best experienced freshly (I hadn't even heard of this film before I saw that it was to be on TCM), but, man, watch out for the dance scene. I LOVE Chinatown, but I think, from the three Polanski films that I've seen, that that scene is his crowning achievement. 9/10.

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 .

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 Fearless Vampire Killers" (aka "Dance of the Vampires") is a silly but enjoyable parody of vampire films, especially the contemporaneous Hammer series, with which it shares visual style. Director Polanski co-stars as Alfred, the bumbling assistant to dotty vampire-hunter Professor Abronsius (Jack MacGowran), as they infiltrate the decaying castle of dreaded Count von Krolock to rescue a beautiful village girl (played by Sharon Tate) with whom Alfred has become smitten (fiction presaging fact, as Tate later married Polanski). The comedy is generally broad and physical (including some sped up sequences), humorously contrasting with Polanski's and MacGowran's dead-pan delivery of a script that could be straight out of a 'real' horror film. The direction and cinematography is top-notch, especially the classic ball-room scene (itself parodied in 2014's "What We Do in the Shadows" mockumentary). I recently rewatched "The Fearless Vampire Killers" on TCM and, having seen the film as a kid, was surprised when it did not open with a cartoon. The reason for this is discussed elsewhere (e.g. Wikipedia; you can see the incredibly dated animated opening on You-tube). All in all, a goofy but fun film from a talented director that relentlessly spoofs a sometimes pretentious horror genre.

Brilliant movie - beautifully shot and with Polanski's eye for detail. Very funny/quirky and atmospheric. I loaned it to a work colleague who thought Polanski only made horror films like 'Rosemary's Baby', she was amazed when confronted with this one. She thought it was great. Everyone is always very impressed with the ballroom scene with all the mirrors and the vampires dancing. The colours are fabulous and the outside scenes remind one of s Christmas card. If it's ever on t.v. it's always on around midnight or after, so I had to buy the DVD. Definitely one to watch late at night when you're alone!! It took me years to find it on DVD. I think the one I eventually bought was an import.

Dance of the Vampires isn't a very typical offering from Roman Polanski. This is his first colour feature film and up until this point his films were decidedly left-field and arty. This one is a considerably more commercial offering. It's effectively a parody of the British Hammer horror films that had been very popular up to this point. So its cultural references were fairly mainstream in the 60's. Set in the 19th century, it's about a professor and his assistant who travel to Eastern Europe seeking vampires. Before long they find themselves at the castle of the mysterious Count von Krolock.

The problem I have with this film is fairly straightforward – I don't find it very funny. The humour is very broad and present throughout. It ranges from the clever (a Jewish vampire who is unafraid of a crucifix) to the low-brow (lots of slapstick). It's occasionally amusing but rarely properly funny. So this is a bit of a problem in a film that is first and foremost a comedy. On the plus side it does look pretty, with nice snowbound landscapes and a Gothic castle to look at. The vampire's ball is also very good. But, for me, the single best aspect of Dance of the Vampires is easily Sharon Tate. She is achingly beautiful and provides a very welcome sensuality to proceedings. Her horrible murder two years later at the hands of the Manson Family clearly robbed the film world of someone quite considerable.

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.

... but here he isn't quite there yet.

This vampire spoof never really gets off the ground, despite director Roman Polanski's best efforts. Cute opening credits get the viewer's hopes up for a farce. But the film is a mix of subtle spoof and occasional scares, and they just don't mix well. The film inspires the occasional smile or laugh. I liked the cinematography, the sets, and of course Sharon, but I thought there could have been a lot more jokes written into it. There seemed to be a lack of dialogue overall. The film finally gets moving in the last 40 minutes, and a few scenes attain slapstick comedy heights; most notably the scene in which Ian Quarrier's vampire makes a pass at Roman Polanski's vampire hunter. If the whole film was this funny, it would have been an undisputed classic. Instead, it is just a mild disappointment.

It's recently been on Turner Classic Movies, but until that time I remember seeing it last in the summer of 1976, on TV in the middle of the night, during the summer between finishing high school and starting college. My younger sister and I stayed up to watch it, and I remembered being somewhat bored with it at the time, and after giving it a chance recently, I was still somewhat bored. Back in 1976, I asked my sister, why did we both stay up to watch this? We both had to admit that it was because Sharon Tate was in it, neither of us had ever seen anything she had been in, and ultimately our curiosity was born from the famous Manson murder cases and how she died. I just remember sitting there at age 18, looking at that beautiful young lady and her husband to be, Mr. Polanski, who was to suffer the most tragic of losses, and thinking "someday you'll both be famous, but you don't want to know why".

I can remember watching this on TV under it's original - and better - British title, Dance of the Vampires, back in the 1980's & found it both silly & boring. However, now that I have matured, I can now appreciate it for the beautiful masterpiece that it is. Absolutely stunning sets, locations & camera work, great cast, a perfect blend of humour & horror and haunting musical score. One of the best vampire movies ever made. Genius.

Saw this last night with the wife, and I'm not sure who could have thought this funny in 1967, much less now.

The Good - The sets (particularly the interiors) are really outstanding. The film looks great, both from cinematography and art direction. Sharon Tate is gorgeous. There are one or two moments of actual laughter. There are a couple of really creepy shots that work, but seem out of place in this film. The vampires are played well, and not for laughs for the most part. This one of the things that works in the film.

The Bad - Most of the "humor" would look juvenile in a Three Stooges film. Most scenes DRAG on and on pointlessly. Both of the main male leads are about as annoying as can possibly be. Not enough Sharon Tate.

There are a few interesting bits in this otherwise tedious film. The funniest bit was when the Roman Polanski character runs away from the gay vampire, but doesn't realize he is running in a circle that brings him right back. The joke was set up and shot well, and funnier because the audience can see it coming. The creepiest shot was looking down on the graveyard and the graves begin to open up with vampires creeping out of them. A great shot.

A 3 out of 10 simply for Sharon Tate and the few other positives.

When I think about R.Polanski the first thing coming to my mind is - "the master of fear and horror", and I knew it that "Fearless vampire Killers" is rare example of comedy by this great director. Yeah, I was worried before seeing this movie, not as much about "geting it", but more so about simple thing - could this movie be entertaining for "21st Century Boy".

First thing that striked me was beautiful music by Komeda. I was in total awe. The music was scary, but at the same time so light and funny - just like for a good fair story. And then the beautiful winter scenery that was so fake - almost cartooning. Few minutes into the movie, and I could say "that's what I call movie poetry".

The story is so simple. The old bat researcher, professor Abronsius and his assistant, Alfred, go to a remote Transylvanian village looking for vampires. They stay in house where no one speaks about vampires, but the garlic is hanging everywhere. Simplistic story is so right for this movie, because acting, scenery, music, cinematography are all in top shape here. For composition I think this is one of the best movie done by Polanski, next to "Tenant" for sure.

And this movie is also a rare occasion to see Polanski in comedic role. He and Brach make unforgettable duo. I was totally entertain when in came to comedy in this movie, but the thing that surprise me the most was the action factor. There is one scene that is great example of that - when Polanski character is looking through keyhole and is so scared of what he see that his face is screaming "terror". It's sure funny, but in a way mad-scary too. And when I think about this movie - this scene sums it up for me.

Its very funny, but little outdated movie. For me one a few really cinematic fairy tales, that keeps magic all the way to the end. Its up there with Repulsion, Tenant, and Tess when in comes to greatest work of this director.

And just think about brilliant ending, so funny, so mad. It's a shame Polanski hasn't made another comedy. Don't get me started with Pirates - the most unfunny movie in history. But "Fearless Vampire Killers " is movie magic - pure and simple.

Ageless. Superb direction and stunning cinematography (not to mention some of the greatest sets ever seen). Jack MacGowran commands center stage as the gangly, batty "Einstein" of vampire hunters, and is hilarious; add to that Polanski himself as the Professor's loyal sidekick, Albert, and you've got one of the funniest duos in the history of hystrionics. Much like Mel Brooks's YOUNG FRANKENSTEIN and Tim Burton's SLEEPY HOLLOW, THE FEARLESS VAMPIRE KILLERS boasts production values on a level most of the films they parody could never hope to match. This depth of detail in the production design only enhances the film(s). Roman Polanski's greatest film.

This is a milestone film for Roman Polanski: one, it is his first film in color (and to the best of my knowledge he never went back). And two, he met actress Sharon Tate during the making of this film... they would soon be married and she would become pregnant.

The film, overall, was somewhat lacking for me. There is a minimum level of horror here, despite being a movie full of vampires. And the comedy is subtle, probably too subtle. If anything, maybe this film inspired Mel Brooks to make "Young Frankenstein", but I sincerely doubt that.

Polanski works well with psychological thrillers and horrors, but I think he misses the mark with his comedies. This one, along with "Cul-de-Sac", has not quite enough humor to really make it a "classic". Had anyone but Polanski (or some other "name") made it, I suspect it would have been long forgotten.

This gem of a film is, at least to me, the most beautiful movie ever made. I highly recommend it to everyone who loves to be spellbound by fairy-tales and fairy-tale-like horror-films, by pictures of snow-heralded baroque-clad characters that remind us of our childhood experiences and childhood fears. If only at least 10% of all movies could be like that!

You have to love the U.S.A. title to this movie: "The Fearless Vampire Killers or: Pardon Me, But Your Teeth Are In My Neck"

I will say this for the 1960s: it had mostly crap movies but it had some of the best film titles ever (i.e. Dr. Strangelove: or How I learned To Stop Worrying And Love The Bomb." )

Sadly, outside of gaping at the beautiful Sharon Tate, there wasn't much to enjoy after the opening title. Most of the film is downright silly with sophomoric humor. I love a good satire, but this isn't one. A satire on vampire films sounds good, but the writers were inept on this screenplay. You can't bore people to death in the beginning and then hope they stay with you. Too much time goes by before any action occurs in this film.

Even more sad, of course, is what happened to Tate not long after this movie was released, butchered by the Manson gang. Out of respect for her, I won't continue on describing how disappointed you will be if you think you're in for entertainment by watching this overrated B-movie schlock

Roman Polanski's tongue-in-cheek look at classic Gothic vampire stories takes a rather bizarre approach to its material by giving us two bumbling vampire hunters who seem to always lose their prey and never seem to be aware of their immediate surroundings. Is this supposed to be funny?

Apparently so, but because it is so unique in its approach, it will divide viewers and I happen to fall on the negative side. The story takes too long to set up before it lands at the setting where it is supposed to and Polanski and Jack MacGowran's acting leave something to be desired.

The only true bright spot of the film is the luminous presence of Sharon Tate, who shows with her flaming red hair and soft, pale complexion why Polanski fell for her and the potential she had as an actress. Knowing her grim destiny only adds to the heaviness of this picture, which is certainly one to forget amongst the Polanski oeuvre.

Now this is the movie that i have watched when i was twelve years old, and made me fall head over heels in love with the horror-genre. Today, it may look outdated (wich of course is the truth), but in my opinion it still is the best vampire movie ever created. If you should take the effort of watching this entire picture, you will come to the conclusion that Polanski has made a masterpiece. Special notes should be taken for the musical score. Such a cliché, but unmissable for this picture. This is a classic horror movie with a perfect, ambient atmosphere that suites the movie perfectly! Today, the teenagers are growing up with vampire movies like blade and underworld. But these are not to be called horror movies. There is little or no atmosphere, just pocket fillers for the movie makers. For classic and Gothic atmosphere, you cannot do any better then "The fearless vampire killers" For those of you who have become curious: enjoy!!

No matter what you might think about Roman Polanski as a person, it's hard to deny his brilliance as a director, particularly in the mid-to-late '60s, when he was firing on all cylinders. Sandwiched between the harrowing psychological drama Repulsion (1965) and the chilling Satanic classic Rosemary's Baby (1968), The Fearless Vampire Killers sees Polanski deftly combining comedy and horror, his film possessing a chilling, dark fairy-tale atmosphere, interspersed by expertly handled moments of low-key humour.

Roman also stars in the film, playing Alfred, assistant to eccentric Professor Abronsius (Jack MacGowran), whose belief in the undead has led the pair to a remote European village that is under threat from Count von Krolock and his bloodsucking acolytes. Making their way to Krolock's castle, Alfred and Abronsius attempt to rescue pretty villager Sarah (tragic Manson Murder victim Sharon Tate) and prevent the vampires from spreading their evil around the world.

With smart direction, an efficient script, superb cinematography and a truly haunting score, the film is a real treat for vampire film fans and delivers several outstanding scenes that easily rival the Euro-horror/Hammer movies that clearly provided Polanski with his inspiration. For me, the high point comes when our hapless heroes try to make their way to the Count's crypt via the snowy rooftops and perilous parapets of the castle— breath-taking stuff—but also memorable are Alfie Bass as a Jewish vampire sledding in a coffin, Iain Quarrier as the Count's gay vampire son Herbert von Krolock (his pursuit of Alfred being the film's funniest moment), and the eerie vampire ball in which Abronsius and his assistant dance with the undead.

7.5 out of 10, rounded up to 8 for IMDb.