Detroit Free Press from Detroit, Michigan on November 1, 1992 · Page 283
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Detroit Free Press from Detroit, Michigan · Page 283

Detroit, Michigan
Issue Date:
Sunday, November 1, 1992
Page 283
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iilTJWJMMTJ ' insiDE: Books Also inside: Shirley Eder talks to "Annie" star Jo Anne Worley. Page 2Q. Sunday, Nov. 1, 1992 Detroit 4frcc Pre itt SECTION Q Marsha Miro, Page 5 Susan Stewart, Page 7 Movie Guide, Page 7 Call Entertainment: 222-6828 3ar Hollywood taps into end-of-th an -century malaise wMMi- ' - 11 a ' iff " 'x-li'- 111'.' r m 1 ," " , - VI, H'jf 1 . 5 4 " f . hi The brides of Dracula Fiorina Kendrick, left, Michaela Bercu and Monica Belucci sink their teeth into Keanu Reeves in "Bram Stoker's Dracula." Gary Oldman, below left, plays the Count, and Winona Ryder is one of his victims. la 1 ollywood is having a hemorrhage. Corpuscles are replacing muscles and mammaries as the tissue that matters. Blood is overtaking Evian as the fluid of choice. With three movies about blood drinkers and Anne Rice's latest vampire novel ("The Tale of the Body Thief) topping the best-seller list we're up to our necks in a feeding frenzy. "Innocent Blood" by John Landis brings a toothsome vampire to Pittsburgh to chomp on a cop. "Rampage" by William Friedkin follows the legal fate of a killer who sips victims' blood from a measuring cup in the kitchen. Both movies are playing in the Detroit area. But the blood, and the fin de siecle forces of eroticism and mysticism or just plain sex and the supernatural at the end of this century are about to flow in a grand and gorgeous way when "Bram Stoker's Dracula" opens Nov. 13. Lick your lips over this one. Directed by Francis Ford Coppola, with Winona Ryder as the bride, Mina, Keanu Reeves as her heroic husband, Jonathan Harker, Gary Oldman as the Count and Anthony Hopkins as the good Dr. Van Helsing, "Dracula" promises to be a cross between "The Godfather" and "Apocalypse Now," only prettier. "Blood," says Coppola in the journal he kept during the making of "Dracula," "is the symbol of everything of passion, of life. It is the main metaphor in the film; it is the sauce that makes the characters potent." The sauce? Has anyone checked Coppola's canine teeth lately? The sauce, in the last decade of the 20th Century, has become a source of both good and evil, just as it was in Stoker's novel almost 100 years ago. Blood transfusions in real life for most of the 20th Century brought life and renewal; now in the '90s, just as in the novel, it's recognized that they also can drain life and bring slow death. Says Coppola, "The whole blood thing in the movie is a little bit like the modern AIDS virus, and the question of whether you are a vampire or not is a metaphor for modern times Jonathan Harker as the hero is like a man fighting AIDS." It's as if Bram Stoker, the Irish writer who published "Dracula" in 1897, peered around the corner of his own century and saw straight through in a clean shot to the end of ours. Or maybe every time the odometer gets close to lining up those 99s followed by the 00s (this time the 999s and 000s!), See BLOOD, Page 4Q Judy gerstel Movies ILMli By Mike Duffy Free Press TV Writer e's the sidekick with the soulful eyes. And for some women, he's a '90s kind of sex symbol quiet, self-effacing and compe tent. Not macho, just masculine. But when "Home Improve ment" first sparked to life as an ABC sitcom pilot project in early 1991, Richard Kara thought he was just filling in briefly as Tim Taylor's "Tool Time" assistant, Al Borland. He knew up front that the producers already had another actor lined up for the part of Al. "Because this other actor was doing a movie, the producers proposed they wanted me for the pilot, and he would do the series," said Karn, who comes across as affably self-effacing and down-to-earth as his TV character. "Well, I thought this will still look good on my resume." Luckily for him and for "Home Improvement," the fickle finger of fate proved to be a big fan of sweet serendipity. Karn's pilot opportunity turned permanent once the other actor decided to stick with his movie career. And, right from the -a By Gary Graff Free Press Music Writer 1 strange bedfellows. f Onp rpntfra nn rhvtrim thf nthpr nn 1 melody. U One screams, the other whisrjers or. sometimes, murmurs. One is sex, the other romance. Yet there has been a regular and continuing influx of pop stars trying their hand at standards, what Billboard magazine editor Timothy White refers to as "tunes from the midcentury heyday of popular songwriting." So we've had Paul McCartney interpreting Duke Ellington, Billy Joel crooning Disney, Michael Bolton emoting with "Georgia" and, last year, a batch of modern rockers doing the works of Cole Porter in the "Red, Hot & Blue" AIDS benefit. This fascination is a focus again this fall. Two prominent pop singers the ever-controversial Sinead O'Connor and the ever-erudite Robert Rockers come to the cabaret for a change See KARN, Page 4Q Richard Karn See CABARET, Page 6Q Sinead O'Connor c i ilk, fctoka H " L.i.iilr.Ti,lin.i.,ii,i...'..i r hi it mi y.-inXpXV:' 11 1 I 2

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