Fearless Vampire Killers Film Analysis †Free Sample

Question: Discuss about theFilm Analysisfor the Fearless Vampire Killers. Answer: Thesis Statement: According to the author, the movie The Fearless Vampire Killer is a comic parody encompassing the theme of doppelganger theory. However, it is more a reflection of metaphysical nuance incorporating matter and form into a singular entity. The author focuses on two different aspects of the film. The first one is the split of human body and mind. The other is the sexual interpretation between the natural and supernatural. The thrilling duel between the vampire killers Professor Anbronsius accompanied by his assistant Alfred and the vampire duo Von Krolok and son Herbert foresaw a story full of events. The move has focused on different worldviews starting from the ambiguity and perplexity of human existence to the juxtaposition of two different human forces- the good and the evil- to unveil the actual lacuna between the two. The essay focuses on a particular scene of the movie where the protagonists are found to be engaged with amorous conversation yet surrounded by the evil forces. This seems to be the moment, when a human character tends to meet his self-counterpart. There remains no symmetrical equality. Another aspect, as the author argues, that Polanski dealt with in the film is the innuendo. Polanski has recapitulated repetitive yet aesthetic interpretation of sexuality in the film. However, he has mastered the art of incorporating both the nuances. It seems to be a reflection of Coleridges Christabel where a human is sexually allured by a supranational power; specifically an evil. Most astonishingly, Polanski has structured such amorous inclination with the help of doppelganger theme. The Hegelian dialectics theorise the split of a human character into two modes. Hegels two-fold human faces have self-conflicting nature. It is the reminder of Aristotelian theory of metaphysics where he argues about the split of matter and form (Kalderon). Dostoyevsky emulates the same theory in The Double with his philosophical view on duality of human nature. Looking back to anachronism, the twentieth century film directors had embraced the mode of neo-classical age. Roman Polanski was of no exce ption. This essay tries to analyse a typical Roman Polanski film The Fearless Vampire Killers. With elementary comic sequence and pro-dramatic contents, the movie created a lot of criticism in the realm of cultural literature during the 1960s. The movie, according to some of the modern and absurd critics, could not reach to the cliff of Polanskis other inventions. However, it was brought into the worth of study by many keeping in mind the tending duality of nature of the characters. The theme was not a mere depiction of horror. It was a perfect ensemble of contemporary moral agitation in Europe and mythological riddles of art. The protagonist Professor Anbronsius is a perfect example of the manifesto of Platonic metaphysics. He is an impotent yet mentally the strongest and most aggressive person in the movie. On the contrary, Alfred is the convergence of two opposite traits. His physical and mental traits pole apart. Alfreds physical urge does not quantify his mental strength. His mind is full of clich. This integration of personality on the movies reflects similarity among Polanski, Dostoevsky and Gogol. There is an ardent psychological split between the brain and the body, which both the characters suffer from. This idea of dismal integrity in the personality results in utter failure. Polanskis heroes are not the resemblance of those of Tarantino or Hickok. Polanski always injects conflicts within the heroes, which is quite prevalent in The Fearless Vampire Killers. They suffer from psychological trauma and disintegration. Such complexity always leads to the denudation of heroism. It can be argued that Dualism and conflict between mind and body is witnessed in the works of Christopher Hegel, Sartre who questioned the meaningfulness of existence. The existence of the vampires in the movies guides the audience to the transcendental world that is philosophised by the metaphysical. According to the metaphysical concept of Aristotle, the matter (mind) and the form (body) are both interlinked (Pereira). Form is the performance the matter. However, The Fearless Vampire Killers has completely denied such traditional theory of the metaphysical. Polanski has furthered the concept of existence beyond the worldly familiarity and acknowledgement about body and soul or body and mind through splitting matter and form. Here matter does not have any control over the form and the vice versa. Nevertheless, the movie unfurled a new genre of existential philosophy with a meagre emulation of Sartre and Descartes. In the article, the author has approached towards reading and underst anding of theory of different philosophies with framing examples from the film The Fearless Vampire Killers. Reference: Kalderon, Mark Eli.Form without matter: Empedocles and Aristotle on color perception. OUP Oxford, 2015. Pereira, Roberto S. "Reflexionism: a New Metaphysical View of both the Content and the Phenomenal Character of Experience." (2016). Pieterse, Annel. "Polanski and perception: the psychology of seeing and the cinema of Roman Polanski." (2014): 151-155. Slocum, J. David.Violence and American cinema. Routledge, 2013.