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Roman Polanski e r 'Vampir BY SAM L. IRVIN JR. Of The Gamecock staff One of the best "horror" films of all time is also one of the funniest. The original title of the film was "Dance of the Vampires," but Americans know it as "The Fearless Vampire Killers Or Pardon Me But Your Teeth Are In Mv Neck." It is a satire of "horror" films directly making fun of the vampire movies made by Hammer films of England. This film is not a Hammer Film, but when the British Film Institute sponsored a Tribute to Hammer Films, "The Fearless Vampire Killers" was shown as the finale. Hammer is the company responsible for all the Dracula films starring Christopher Lee. as well as many other films of similar terror. "The Fearless Vampire Killers" made by Roman Polanski in 1966. At that time, Polanski had done two films of note, "Cul De Sac" and "Repulsion." Neither of these films had made huge profits, though. Therefore, Polanski was still at the mercy of the studios who had artistic say over his work. Polanski filmed "The Fearless Vampire Killers" for Metro Goldwyn-Mayer starring his then Concert storms city From Page 5 4 rock and master the soft sounds with equal and unending con fidence. Besides presenting the audience with an excellent display of musical expertise, Earth, Wind and Fire provided a pleasing stage show that included as many as seven members dancing in rhythm to themselves and to the music at the same time, a tremendous color light display, streams of fire, explosions of smoke and a fog that engulfed the whole stage. To top that off, the old strobe light was used several times with amazingly good effect, and during a solo the bass player was lifted off the stage thirty feet into the air. They always kept you guessing. The reaction of most of the audience, however, was less than invigorating. The effect on the band was obvious as they con tinually threw hints at the crowd like "This is the portion of the show where they're sensitive," and "We're not used to people sitting down," to show their momentary displeasure. Being the professionals they are, though, Earth, Wind and Fire began the second half of their set with more of the traditional sounding soul music centering on soft, high notes but crystal clear vocals that included such numbers as "Lift Your Head to the Sky" and "Devotion." Their "Getting Down to the Soul" finally got all the people to their feet. The audience danced in the aisles and one guy danced on the stage. This was highlighted by a sing-a-long of "Time to Stop for You to See What Your Life Can Do to Me." An encore was demanded and fulfilled by the band with their final denarture coming around 10. lassic 19 * -e premier girlfriend Sharon Tate, who later became his wife, but was mur dered in 1969. When Polanski finished the film, MGM took it, cut nearly twnety minutes from it, added a short cartoon before the credits, and finally released it as a quicky "Grade B" production. The profits were "Grade F". Roman Polanski left MGM furious at the way they had treated his film, which he still considers his best work. He immediately hit the big time with "Rosemary's Baby" and followed this with "Macbeth" and "Chinatown", which is nominated for several Academy Awards this year in cluding one for Polanski. On all three of those films he had com plete artistic control. For many years Pulanski en thusiasts have tried to persuade MGM to re-release "The Fearless Vampire Killers" in its original form, the way Polanski had in tended it to be. Finally, in March 1975, Films Incorporated (a large 16 MM film distributor for feature films to be shown on campuses etc.) obtained a negative of the complete, uncut version of Roman Polanski's "The Fearless Vampire Killers or"Pardon Me Eit Your Teeth Are In My Neck." The Cinematic Arts Committee of the Russell House University Union persuaded Films Incorporated to let USC have the World Premiere of the uncut classic. It will have three special showings Wed nesday, April 9 at the Russell House Theatre at 3:30 p.m, 7:00 p.m., and 9:30 p.m. No admission will be charged. The film not only features the lovely Sharon Tate, but it also stars Polanski in his largest role. You will recall that he had cameo appearances in "Chinatown" as the hood who cut Jack Nicholson's nose, as well as a villager in Andy Warhol's "Dracula". He displays a remarkable ability to be funny. The best performance in the film is delivered by the true star, Jack MacGowran, who plays a professor determined to destroy vampirism P A C service. Excelleuat se beer,Open 5 til 11 p Students and 1E I.D. cands: All xzn eat *1.95 M 7hesday, nights Capri's Italian s uncut in Transylvania. MacGowran was one of those comedians who always had great bit parts in comedies, but never attained the "stardom" which he deserved. His last film appearance, before his death in 1973, was as the funny little director in "The Exorcist". "The Fearless Vampire Killers" is the only film in which he received top billing and in which he had the main role. Had the film been left untouched, MacGowran might have obtained some sort of notable recognition far it. MacGowran immerses himself physically and mentally into his part. He comes across physically like a frail, timid rabbit, and mentally like an eccentric Ein stein. Ferdy Mayne has the sanguine honor of playing Count Krolock, the local Prince of Darkness, obviously modelled to represent Count Dracula. He sinks his teeth into Tate as well as his part with glorious "tongue-in-cheek" evil. Alfie Bass, a former boxing champion, plays Koukol, the Count's "Igor-ish" hunchback assistant. The make-up used for his teeth is so outrageously exaggerated that it will have you rolling with laughter in the aisles. The art direction and set decoration is magnificent, giving, the entire -production that "multi million dollar" look, while adding the atmosphere of evil simultaneously. The photography is likewise superb, capturing everything it should. Of particular note is the ex cellent musical score by Christopher Komeda, who also scored "Rosemary's Baby." The haunting chorus humming the title theme is quite chilling. What makes the film so brilliant is that it does more than just make fun of a genre of films, it adds to the genre at the same time. 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