Perhaps it was my aversion to a certain tendency in British cinema that kept me at bay. Who wants to watch The Munsters run through a de-humorizer and be given the "Carry On" treatment? I didn't realize as a child that the British supporting cast was already residing in America and the entire production was shot on the Universal backlot. The dark, Technicolor cinematography is dazzling. With all due respect, it is impossible to imagine Benjamin Kline, a former cameraman for Edgar G. Ulmer () and The 3 Stooges (Grips, Grunts and Groans), achieving this effect by himself. Kline did shoot the My Fair Munster pilot in color, but a quick comparison indicates he must have put in a call to Universal's in-house "Prince of Darkness," Russell Metty (Written on the Wind, Touch of Evil). The lighting bears more than a passing similarity to the ace cinematographer's patented embossed Technicolor shadows. With the exception of a few minor alterations, this is basically a beefed up movie-of-the-week version of the show. The title design is the same, only now the letters bleed blood red Technicolor, and gone are the walk-on picture credits. While Jack Marshall's familiar incidental music plays throughout, regrettably we never get to hear a full blown rendition of the beloved theme song, not even under the closing credits. Being a lifelong connoisseur of fast motion, there were enough sped up reaction shots to hold my attention. Borrowing from the episode Grandpa's Call of the Wild, everybody's favorite Jewish Dracula turns into a wolf that disguises itself as Lily's fur wrap while Herman dons his butch Wild One get-up to participate in a road race. On the American side of the supporting cast we had Cliff Norton as a drunken excuse for a running gag, Jack "Howard Sprague" Dodson appearing as an under-cranked shipmate, and John Carradine picking up a paycheck and a hot bowl of soup. The English players aren't quite as impressive: Terry-Thomas, Hermione Gingold, Richard Dawson, and insufferable Brit-for-hire Ben Wright will leave you begging for fade outs. The shtick that worked on TV is funny on the big screen and any fan of the show must see this movie at least a couple of times. The Good Times Video pressing that I screened was of more than acceptable quality. Originally intended as a TV movie, the film was shot full frame and is presented that way on the DVD. Compared to McHale's Navy Join the Air Force, this is a masterpiece! Earl Bellamy directs. (1966) — Scott Marks