Une superbe comédie fantastique qui utilise avec succès tous les ingrédients traditionnels propres au genre (pieux, ail, chauve-souris, absence de reflets dans le miroir, etc...) Tout ceci rehaussé par un humour constant et bienvenu, souvent fort cocasse. Un film hilarant qui invite à entrer dans la danse... www.cinefiches.com
Original comedy take on horror genre, combining slapstick and intelligent black humor. Scene in which Polanski runs away from a vampire just to circle around the balcony and return right back to him is such a witty self-reflecting take childish charm of the subgenre, as well as a subtle reaction on inevitability of tragedy returned to later on in final scene of the movie.
The most playful Polanski film I've seen to date, in no small part due to his role as the childlike apprentice Alfred. The intense chemistry between Polanski and Tate is heartbreaking considering the short span of time between the film's release and her tragic death in 1969. Komeda's score strikes a delightful balance between a chilly choral motif, swift jazz, and the beauty of a warm Victorian lullaby.
Polanski's unsung masterpiece. It's like "MAD MAGAZINE's Guide to Vampire-Hunting." Lots of great bits, like the Jewish Vampire and the lavish ballroom dance in front of mirrors. The movie has spectacular production-design all throughout! It's obviously a parody-of-sorts of the Hammer Vampire films, but its budget actually makes it seem more legit than they are! And Sharon Tate was quite the dish!!!
Simpática lectura cómica sobre el conde Krolock, no Orlok. Polanski parece rememorar a la comedia en su primera etapa. Los gags como fuente que revierte la historia clásica a lo paródico, sin llegar tampoco al humor cargado. La mejor escena, la de la danza frente a un espejo.
Some great energy and visual flare to the opening third of the film. The marvelous sled ride and the protagonists' night at the hotel are inspired, spooky fun (somewhere between Bruegel and Time Bandits). But the following two acts lack a script and simply tread water with extended gags. Production design is marvellous, and the performances of MacGowran and Alfie Bass are right on the money.