Captivating theatrical publicity shot featuring Sharon Tate (Sarah Shagal). It's the iconic scene where she's bathing nude in a large porcelain Victorian bathtub as Roman Polanski (Alfred, Abronsius's assistant) approaches her.
The Fearless Vampire Killers, or Pardon Me, But Your Teeth Are in My Neck (shortened to The Fearless Vampire Killers; originally released in the United Kingdom as Dance of the Vampires) is a 1967 British comedy horror film directed by Roman Polanski, written by Gérard Brach and Polanski, produced by Gene Gutowski and starring Polanski with his future wife Sharon Tate, along with Jack MacGowran and Alfie Bass, and featuring Ferdy Mayne.
In the film, a doddering vampire hunter and his bumbling assistant travel to a small mountain village where they find the tell-tale traces of vampirism. The assistant becomes enchanted by the local tavern keeper's daughter, before she is promptly abducted. Determined to save the buxom maiden, they confront the un-dead Count in his castle. The film has been adapted into a musical, Dance of the Vampires (first adapted in German under the translated title "Tanz der Vampire").
Roman Polanski talks about production difficulties in his autobiography: "Our first month's outdoor filming became a series of ingenious improvisations, mainly because the last-minute switch from one location (Austria) to another (Urtijëi, an Italian ski resort in the Dolomites) had left us so little time to revise our shooting schedules. The fact that we were filming in Italy entailed the employment of a certain number of Italian technicians and that, in turn bred some international friction. Gene Gutowski (the film's European producer) rightly suspected that the Italians were robbing us blind."
Cinematographer Douglas Slocombe said: "I think he (Roman) put more of himself into Dance of the Vampires than into any other film. 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. 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 with 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." This film was the source material for the European stage musical Tanz der Vampire. It is peppered with numerous references to King Richard III of England, who even appears in the ball scene.
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