Donald Gross Sr.

Donald Helsman 
Nov. 15, 1992 
Donald A. Helsman, 77, Of Allenwood, Rd 1, Died Sunday In The Evangelical 
Community Hospital, Lewisburg.

By JOE BUTKIEWICZ; Times Leader Staff Writer
 Thursday, November 19, 1992 &nbsp;&nbsp;&nbsp;&nbsp;Page: 6B QUICK WORDS: DRACULA FILM 





Whether the title of "Bram Stoker's Dracula" pays homage to the novelist,
or borrows the author's name for the luster of authenticity, the filmmakers
would have been more accurate calling this film "Francis Ford Coppola's
Dracula." &nbsp;&nbsp;&nbsp; 
 Through and through, this latest incarnation of the familiar bloodsucker
story is Coppola's movie, from titanic, operatic score through buckets of
gore, religious overtones and an inventive, trippy, phantasm of images. &nbsp;&nbsp;&nbsp; "Bram Stoker's Dracula" by way of Coppola is a spectacle: corpulent with
images and design, symbol and intonation. It is overwrought, as well -- long
on sensation and short on story. A feast for the eyes; a retreat for
reasoning. &nbsp;&nbsp;&nbsp; 
 All considered, it is not a great movie or even a good movie and doesn't
beg a recommendation. But if the film is disappointing because it doesn't
achieve a level of cohesive story telling, it is rich with design and thought
and the extravagance keeps it from being dissatisfying. &nbsp;&nbsp;&nbsp; 
 "Bram Stoker's Dracula" is like a carnival. People see it because it's
there. &nbsp;&nbsp;&nbsp; 
 The movie begins in 1462 with Rumanian King Vlad the Impaler (Gary Oldman)
successfully repelling an invasion of Turks. He returns to find that his young
bride, believing Vlad has not survived the battle, has killed herself. The
monks who have encouraged the crusade have denied her a blessing and an
enraged Vlad curses God, delivering his soul to eternal damnation. &nbsp;&nbsp;&nbsp; 
 The story shifts to 1897. (In a sign that the filmmakers have little
confidence in their audience, they remind us that the period is "four
centuries later.") Law clerk Jonathan Harker (Keanu Reeves) has been assigned
to assist Transylvanian Count Dracula acquire property in London. &nbsp;&nbsp;&nbsp; 
 Harker might have noticed that his predecessor, a Mr. Renfield (Tom Waits),
spends his clerking days in an insane asylum, ever since dealing with the
Count. &nbsp;&nbsp;&nbsp; 
 The ambitious Harker is engaged to be married to school mistress Mina
(Winona Ryder) so he ignores the omens that mark his travels to Transylvania.
He is greeted by an aged Count Dracula (Oldman, again), who takes quick note
that betrothed Mina bears an uncanny likeness to his long dead wife. &nbsp;&nbsp;&nbsp; 
 So while the Count's three demonic wives hold Harker a blood-drained
captive, Dracula travels to London in the guise of Count Vlad. &nbsp;&nbsp;&nbsp; 
 There the story is centered on wealthy Lucy Westenra (Sadie Frost), a
free-thinking, impassioned woman in a slowly evolving strict Victorian era.
(Sadie is an embodiment of female sexulaity unbound, a theme of Stoker's
novel.) When troubles arise at the manor, her suitors call for the aide of the
famed Dr. Van Helsing (Anthony Hopkins), part scientist, part sorcerer. &nbsp;&nbsp;&nbsp; 
 The arrival of Hopkins -- the one exception in an otherwise young cast --
provides Coppola's movie with an outrageous performance that nearly snatches
the jugular from "Dracula." As the mercurial Van Helsing, Hopkins is afforded
the opportunity to holler dialogue such as "She is the devil's concubine." &nbsp;&nbsp;&nbsp; 
 When a character is buried, he sends an assistant for medical knives. For
an autopsy?. "No, no," assures Van Helsing. "Not exactly. I just want to cut
off her head and take out her heart." &nbsp;&nbsp;&nbsp; 
 Hannibal Lecter lives. &nbsp;&nbsp;&nbsp; 
 The always dependable Oldman delivers a wonderful, subtle and moving
performance as the lonely, tortured and somewhat sympathetic Dracula.
Ultimately, his is a tale of redemption. &nbsp;&nbsp;&nbsp; 
 Ryder is fine as Mina, a character that grows from naivete into temporal
awareness. Reeves is simply out of his league and better left to "Bill and
Ted" adventures. &nbsp;&nbsp;&nbsp; 
 If Coppola is able with this cast, he is unfocused in his storytelling. The
dizzying, hallucinogenic avalanche of images and special effects, from
minatures to multiple exposures, have impact but no cumulative value.
Ironically, the story progresses mostly through the dusty cinematic crutch of
various diary entries, shown on screen and read by the characters. &nbsp;&nbsp;&nbsp; 
 Great energy has been poured into "Bram Stoker's Dracula" but Coppola
doesn't appear to have embraced the project with his customary zeal. And when
characters in a movie plead to be included in the ranks of the undead,
filmmakers need a certain enthusiasm to convince the audience.

`dracula,' By Way Of Coppola *************** File Photo Francis Ford Coppola 'dracula,' His Way ***************

`dracula,' By Way Of Coppola * File Photo Francis Ford Coppola 'dracula,' His Way *