ON THIS DAY IN HORROR - November 13th
"BRAM STOKER'S DRACULA" released in 1992
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In 1462, Vlad Dracula (Gary Oldman), a member of the Order of the Dragon, returns from a victory against the Turks to find his wife, Elisabeta (Winona Ryder), has committed suicide after receiving a false report of his death. Enraged that his wife is now damned for committing suicide, Dracula desecrates his chapel and renounces God, declaring that he will rise from the grave to avenge Elisabeta with all the powers of darkness. In a fit of rage, he stabs the chapel's stone cross with his sword and drinks the blood which pours out of it.
In 1897, newly qualified solicitor Jonathan Harker (Keanu Reeves) takes the Transylvanian Count Dracula as a client from his colleague R. M. Renfield (Tom Waits), who has gone insane. Jonathan travels to Transylvania to arrange Dracula's real estate acquisition in London, including Carfax Abbey. Jonathan meets Dracula, who discovers a picture of Harker's fiancée, Mina (Ryder) and believes that she is the reincarnation of Elisabeta. Dracula leaves Jonathan to be attacked and fed upon by his brides ((Michaela Bercu, Florina Kendrick, and Monica Bellucci) and sails to England with boxes of his native soil, taking up residence at Carfax Abbey. His arrival is foretold by the ravings of Renfield, now an inmate in Dr Jack Seward's (Richard E. Grant) neighboring insane asylum.
In 1897, newly qualified solicitor Jonathan Harker (Keanu Reeves) takes the Transylvanian Count Dracula as a client from his colleague R. M. Renfield (Tom Waits), who has gone insane. Jonathan travels to Transylvania to arrange Dracula's real estate acquisition in London, including Carfax Abbey. Jonathan meets Dracula, who discovers a picture of Harker's fiancée, Mina (Ryder) and believes that she is the reincarnation of Elisabeta. Dracula leaves Jonathan to be attacked and fed upon by his brides ((Michaela Bercu, Florina Kendrick, and Monica Bellucci) and sails to England with boxes of his native soil, taking up residence at Carfax Abbey. His arrival is foretold by the ravings of Renfield, now an inmate in Dr Jack Seward's (Richard E. Grant) neighboring insane asylum.
Top: Dracula (Gary Oldman) seduces Mina (Winona Ryder) - the reincarnation of his wife Elisabeta
In London, Dracula emerges as a wolf-like creature amid a fierce thunderstorm and hypnotically seduces, then rapes and bites Lucy Westenra (Sadie Frost), with whom Mina is staying while Jonathan is in Transylvania. Lucy's deteriorating health and behavioral changes prompts Lucy's former suitors Quincey Morris (Billy Campbell) and Dr Seward, along with her fiancé, Arthur Holmwood (cary Elwes), to summon Dr Abraham Van Helsing (Anothony Hopkins), who recognizes Lucy as the victim of a vampire. Dracula, appearing young and handsome during daylight, meets and charms Mina. When Mina receives word from Jonathan, who has escaped the castle and recovered at a convent, she travels to Romania to marry him. In his fury, Dracula transforms Lucy into a vampire. Van Helsing, Holmwood, Seward and Morris kill Lucy out of mercy the following night.
After Jonathan and Mina return to London, Jonathan and Van Helsing lead the others to Carfax Abbey, where they destroy the Count's boxes of soil. Dracula enters the asylum, where he kills Renfield for warning Mina of his presence. He visits Mina, who is staying in Seward's quarters while the others hunt Dracula, and confesses that he murdered Lucy and has been terrorizing Mina's friends. A confused and angry Mina admits that she still loves him and remembers her previous life as Elisabeta. At her insistence, Dracula begins transforming her into a vampire. The hunters burst into the bedroom, and Dracula claims Mina as his bride before escaping. As Mina changes, Van Helsing hypnotizes her and learns via her connection with Dracula that he is sailing home in his last remaining box. The hunters depart for Varna to intercept him, but Dracula reads Mina's mind and evades them. In a last desperate gamble, the hunters decide to split up; Van Helsing and Mina travel to the Borgo Pass and the castle, while the others try to stop the gypsies transporting the Count, in the hopes of destroying Dracula once and for all!
After Jonathan and Mina return to London, Jonathan and Van Helsing lead the others to Carfax Abbey, where they destroy the Count's boxes of soil. Dracula enters the asylum, where he kills Renfield for warning Mina of his presence. He visits Mina, who is staying in Seward's quarters while the others hunt Dracula, and confesses that he murdered Lucy and has been terrorizing Mina's friends. A confused and angry Mina admits that she still loves him and remembers her previous life as Elisabeta. At her insistence, Dracula begins transforming her into a vampire. The hunters burst into the bedroom, and Dracula claims Mina as his bride before escaping. As Mina changes, Van Helsing hypnotizes her and learns via her connection with Dracula that he is sailing home in his last remaining box. The hunters depart for Varna to intercept him, but Dracula reads Mina's mind and evades them. In a last desperate gamble, the hunters decide to split up; Van Helsing and Mina travel to the Borgo Pass and the castle, while the others try to stop the gypsies transporting the Count, in the hopes of destroying Dracula once and for all!
[Dracula violently throws the vessel of Holy water to the ground]
Dracula: I renounce God! I RENOUNCE GOD! I rise up from my own death, to avenge her's with all the powers of darkness!
[Dracula throws the Priest to the ground and runs up to the stone cross in the chapel, peircing it with his sword. Blood starts to run from the damaged cross, which Dracula catches in a cup]
Dracula: Blood is the life. And so shall it be mine!
[Dracula drinks the blood and stumbles back from the altar. Finally Dracula howls in fury and pain!]
Top and Above: Confronted with the suicide of his wife, Dracula curses himself to avenge her death, by striking his sword into the stone crucifix - which immediately begins to run with blood!
Writer James V. Hart started writing his adaptation of Bram Stoker's classic vampire novel in 1977 and had hoped to have veteran filmmaker David Lean direct the picture, but was unavailable as he was working on Nostromo (this film was eventually shelved after Lean's death in 1991). By the time actress Winona Ryder saw the script when it was originally going to be made as a TV movie, directed by Michael Apted, by then titled Dracula: The Untold Story. She took the script to Francis Ford Coppola, whom she had not spoken to since withdrawing from The Godfather: Part III (1990) due to exhaustion six months earlier. They were originally meeting to discuss an adaptation of Jack Kerouac's On the Road, and on her way out she mentioned the script for Dracula. Coppola was interested as he saw it as a bridge-building exercise between him and Ryder, and, due to delays and cost overruns on some of Coppola's previous projects such as Apocalypse Now and One from the Heart, was determined to bring the film in on time and on budget. Coppola also had hopes that Dracula would financially rescue his struggling studio American Zeotrope from bankruptcy (similar to the hopes he once had for The Godfather: Part III).
During pre-production of Dracula, Coppola came up with the idea that when in the presence of a being such as a vampire, the laws of physics don't work correctly. This is why shadows often seem to act independently of the figure casting them, why rats can run along a ceiling upside-down and why liquid drips up instead of down. Coppala and Hart also wanted their adaptation to be one of the very few Dracula films in which, like in the novel, Dracula begins as a white-haired old man and becomes younger as he feeds on blood. His appearance as an old man is changed, however: in the novel he is described as "a tall old man, clean shaven save for a long white moustache, and clad in black from head to foot, without a single speck of colour about him anywhere," while in the film he wears a long red robe, is of average height, and does not have a mustache.
Coppola chose to invest a significant amount of the budget into costumes in order to showcase the actors, whom he considered the "jewels" of the feature. He had an artist storyboard the entire film in advance to carefully illustrate each planned shot, a process which created around a thousand images. He turned the drawings into a choppy animated film and added music, then spliced in scenes from the French version of Beauty and the Beast that Jean Cocteau directed in 1946 along with paintings by Gustav Klimt and other symbolist artists. He showed the animated film to his designers to give them an idea of the mood and theme he was aiming for. Coppola also asked the set costume designers to simply bring him designs which were "weird". "'Weird' became a code word for 'Let's not do formula,'" he later recalled. "'Give me something that either comes from the research or that comes from your own nightmares.' I gave them paintings, and I gave them drawings, and I talked to them about how I thought the imagery could work."
During pre-production of Dracula, Coppola came up with the idea that when in the presence of a being such as a vampire, the laws of physics don't work correctly. This is why shadows often seem to act independently of the figure casting them, why rats can run along a ceiling upside-down and why liquid drips up instead of down. Coppala and Hart also wanted their adaptation to be one of the very few Dracula films in which, like in the novel, Dracula begins as a white-haired old man and becomes younger as he feeds on blood. His appearance as an old man is changed, however: in the novel he is described as "a tall old man, clean shaven save for a long white moustache, and clad in black from head to foot, without a single speck of colour about him anywhere," while in the film he wears a long red robe, is of average height, and does not have a mustache.
Coppola chose to invest a significant amount of the budget into costumes in order to showcase the actors, whom he considered the "jewels" of the feature. He had an artist storyboard the entire film in advance to carefully illustrate each planned shot, a process which created around a thousand images. He turned the drawings into a choppy animated film and added music, then spliced in scenes from the French version of Beauty and the Beast that Jean Cocteau directed in 1946 along with paintings by Gustav Klimt and other symbolist artists. He showed the animated film to his designers to give them an idea of the mood and theme he was aiming for. Coppola also asked the set costume designers to simply bring him designs which were "weird". "'Weird' became a code word for 'Let's not do formula,'" he later recalled. "'Give me something that either comes from the research or that comes from your own nightmares.' I gave them paintings, and I gave them drawings, and I talked to them about how I thought the imagery could work."
Van Helsing: Mr. Morris, your bullets will not harm him. He must be beheaded. I suggest you use your big Bowie knife.
Quincey P. Morris: Well, I wasn't plannin' on getting that close, Doc.
Top and Above: Over four centuries later, Dracula meets with young lawyer Jonathan Harker (Keanu Reeves) to discuss purchasing property in London
Liam Neeson was considered for, and very much wanted, the role of Van Helsing, but after Anthony Hopkins, still riding the success of The Silence of the Lambs (1991), showed interest in the role, Neeson was ultimately turned down. Hopkins would also play Cesare, the priest who tells Dracula that Elisabeta's soul is damned; and he provides the voice-over sequence during the narrative for the Captain of the Demeter. Of Coppola's original list of potential actors to play the iconic Dracula role (including, Daniel Day-Lewis, Alec Baldwin, Hugh Grant, Gabriel Byrne, and Alan Rickman, among many, many others), character actor Gary Oldman - known for his particular acting style in numerous widely diverse roles - was cast to play the Romanian prince. On accepting the role, Oldman hired a singing coach to help him lower his voice by an octave to help him give Dracula a more sinister quality and had his front hairline shaved, both for make-up purposes and to closely resemble Vlad.
With Ryder already attached to play Mina Murray, actress Sadie Frost almost didn't bother auditioning for the part of Lucy as she figured that she was too physically similar to Ryder. It was only after Coppola had real trouble casting the part, and had happened to see Frost's performance in Dark Obsession (1989), that she was approached. Still, after accepting the part, Frost dyed her brown hair red over lingering concerns that she still resembled Ryder too much. For the role of Jonathan Harker, Coppola approached Keanu Reeves for the role. Coppola said of his casting choice: "We tried to get some kind of matinée idol for the part of Jonathan, because it isn't such a great part. If we all were to go to the airport...Keanu is the one that the girls would just besiege."
With his self-described "dream cast", Coppola openly encouraged all the actors to read the novel and add suggestions and notes for their characters to incorporate into the script. In fact, at the first "cast meeting" called by Coppola, he got all the principal actors to read the entire Bram Stoker novel out loud to get a feel for the story, which, according to Anthony Hopkins, took two whole days to complete. Coppola also had Richard E. Grant (playing Dr Jack Seward), Cary Elwes (as Sir Arthur Holmwood) and Billy Campbell (as Texan adventurer Quincey P. Morris) embark on a series of "adventures" including horse back riding and hot air ballooning to build the camaraderie between the three.
With Ryder already attached to play Mina Murray, actress Sadie Frost almost didn't bother auditioning for the part of Lucy as she figured that she was too physically similar to Ryder. It was only after Coppola had real trouble casting the part, and had happened to see Frost's performance in Dark Obsession (1989), that she was approached. Still, after accepting the part, Frost dyed her brown hair red over lingering concerns that she still resembled Ryder too much. For the role of Jonathan Harker, Coppola approached Keanu Reeves for the role. Coppola said of his casting choice: "We tried to get some kind of matinée idol for the part of Jonathan, because it isn't such a great part. If we all were to go to the airport...Keanu is the one that the girls would just besiege."
With his self-described "dream cast", Coppola openly encouraged all the actors to read the novel and add suggestions and notes for their characters to incorporate into the script. In fact, at the first "cast meeting" called by Coppola, he got all the principal actors to read the entire Bram Stoker novel out loud to get a feel for the story, which, according to Anthony Hopkins, took two whole days to complete. Coppola also had Richard E. Grant (playing Dr Jack Seward), Cary Elwes (as Sir Arthur Holmwood) and Billy Campbell (as Texan adventurer Quincey P. Morris) embark on a series of "adventures" including horse back riding and hot air ballooning to build the camaraderie between the three.
Professor Abraham Van Helsing: We are dealing with forces beyond all human experience, and enormous power. So guard her well. Otherwise, your precious Lucy will become a bitch of the Devil! A whore of darkness!
[Quincey pushes Van helsing away]
Quincey P. Morris: Well, you're a sick old buzzard!
Professor Abraham Van Helsing: Hear me out, young man. Lucy is not a random victim, attacked by mere accident, you understand? No. She is a willing recruit, a breathless follower, a wanton follower. I dare say, a devoted disciple. She is the Devil's concubine!
Top: Meanwhile back in London, Jonathan's fiance Mina is staying with her friend, Lucy Westenra (Sadie Frost);
Above: Learning of Mina's existence, Dracula (now appearing younger) arrives in London for her!
With budgetary concerns still paramount in his mind, Coppola chose to film Dracula almost entirely on sound stages in Los Angeles, with principal photography beginning on October 14th, 1991. One of the earlier scenes filmed was the heroes confronting Lucy in crypt, after she is turned to a vampire. During shooting the scene, the little girl who played the child carried into the crypt by Lucy was genuinely terrified of Frost in her vampire make-up, and obviously wasn't expecting to do more than one take. Coppola and Frost had to do a lot of sweet-talking to the child (with Frost also constantly removing her "fangs" to show their weren't real) in order to get her back in Sadie's arms for another go at the scene.
In fact, Hopkins, Reeves, Elwes, Grant and Campbell had a similar experience while shooting the scene when they come upon Dracula with Mina in the asylum - although for completely different reasons. Initially, Oldman had problems with this scene, feeling constricted in the suit and not very scary, until Coppola told him to whisper something scary into each actor's ear, which Oldman did with relish. No one knows what he said to them, but they all look absolutely terrified in the scene! Oldman also came to the "assistance" of Frost during the ravishment scene with the Wolf-monster - feeling increasingly nervous as the scene went on, Oldman began to speak seductively off camera to Frost while they were filming; Frost laughingly later described the things Oldman said to her as "very unrepeatable". But while Oldman clearly had no qualms discussing sexuality with the young actresses, Coppola brought in acting coach Greta Seacat to coach Frost and Ryder for their erotic scenes as Coppola was uncomfortable! On interesting instance occured when time came to shoot the scene involving Harker and Dracula's brides on the bed. Although the three actors playing Dracula's brides (Michaela Bercu, Florina Kendrick, and Monica Bellucci - in one of Bellucci's first acting roles) had already agreed to appear nude in the film, everybody on the set was too timid to ask them to take off their clothes before filming their scenes. Coppola asked his son Roman Coppola to ask them, but Roman didn't want to do it, either, and asked another crew member to do it!
In fact, Hopkins, Reeves, Elwes, Grant and Campbell had a similar experience while shooting the scene when they come upon Dracula with Mina in the asylum - although for completely different reasons. Initially, Oldman had problems with this scene, feeling constricted in the suit and not very scary, until Coppola told him to whisper something scary into each actor's ear, which Oldman did with relish. No one knows what he said to them, but they all look absolutely terrified in the scene! Oldman also came to the "assistance" of Frost during the ravishment scene with the Wolf-monster - feeling increasingly nervous as the scene went on, Oldman began to speak seductively off camera to Frost while they were filming; Frost laughingly later described the things Oldman said to her as "very unrepeatable". But while Oldman clearly had no qualms discussing sexuality with the young actresses, Coppola brought in acting coach Greta Seacat to coach Frost and Ryder for their erotic scenes as Coppola was uncomfortable! On interesting instance occured when time came to shoot the scene involving Harker and Dracula's brides on the bed. Although the three actors playing Dracula's brides (Michaela Bercu, Florina Kendrick, and Monica Bellucci - in one of Bellucci's first acting roles) had already agreed to appear nude in the film, everybody on the set was too timid to ask them to take off their clothes before filming their scenes. Coppola asked his son Roman Coppola to ask them, but Roman didn't want to do it, either, and asked another crew member to do it!
TRIVIA: The scene of Lucy (Sadie Frost) getting back into her coffin in the underground crypt was shot in reverse to give it an eerie quality.
Top: Eventually Professor Abraham Van Helsing (Anthony Hopkins) is called on to help investigate Dracula;
Above: Van Helsing confronts a now-vampire Lucy in her crypt!
Costume Designer Eiko Ishioka was from Japan, and because the costumes had a Kabuki theater-like appearance, Oldman's wig maker and hair designer Stuart Artingstall studied traditional Kabuki and Geisha hair styles and incorporated them into her unique and elaborate designs. Each wig was "built" and took many hours of painstaking work to thread each hair in a base individually, as is done in traditional opera companies. And despite his occasional discomfort in them, Oldman creatively contributed to the make-up effects when Dracula transforms into various monstrous forms. Although at one point during filming, a double was used to portray the wolf-beast version of Dracula when Gary Oldman suffered an allergic reaction to the makeup.
Coppola was insistent that he did not want to use any kind of contemporary special effects techniques such as computer-generated imagery when making the movie, instead wishing to use antiquated effects techniques from the early history of cinema, which he felt would be more appropriate given the film's period setting coincides with the origin of film. He initially hired a standard visual effects team, but when they told him that the things he wanted to achieve were impossible without using modern digital technology, Coppola disagreed and fired them, replacing them with his son Roman Coppola. As a result, all of the visual effects seen in the film were achieved without the use of optical or computer generated effects, but were created using on-set and in-camera methods (with the exception of the blue flame effect, which is the only optical effect in the film). For example, any sequences that would have typically required the use of compositing, were instead achieved by either rear projection with actors placed in front of a screen with an image projected behind them, or through multiple exposure by shooting a background slate then rewinding the film though the camera and shooting the foreground slate on the same piece of film, all the while using matting techniques to ensure that only the desired areas of film were exposed. Forced perspectives were often employed to combine miniature effects or matte paintings with full sized elements, or create distorted views of reality, such as holding the camera upside down or at odd angles to create the effect of objects defying the laws of physics. Coppola and the special effects team also consulted with a professional magician to achieve the effect of Dracula's brides rising up from the bed.
Coppola was insistent that he did not want to use any kind of contemporary special effects techniques such as computer-generated imagery when making the movie, instead wishing to use antiquated effects techniques from the early history of cinema, which he felt would be more appropriate given the film's period setting coincides with the origin of film. He initially hired a standard visual effects team, but when they told him that the things he wanted to achieve were impossible without using modern digital technology, Coppola disagreed and fired them, replacing them with his son Roman Coppola. As a result, all of the visual effects seen in the film were achieved without the use of optical or computer generated effects, but were created using on-set and in-camera methods (with the exception of the blue flame effect, which is the only optical effect in the film). For example, any sequences that would have typically required the use of compositing, were instead achieved by either rear projection with actors placed in front of a screen with an image projected behind them, or through multiple exposure by shooting a background slate then rewinding the film though the camera and shooting the foreground slate on the same piece of film, all the while using matting techniques to ensure that only the desired areas of film were exposed. Forced perspectives were often employed to combine miniature effects or matte paintings with full sized elements, or create distorted views of reality, such as holding the camera upside down or at odd angles to create the effect of objects defying the laws of physics. Coppola and the special effects team also consulted with a professional magician to achieve the effect of Dracula's brides rising up from the bed.
If you liked to know more on how Coppola and his visual team created the stunning effects for Dracula, check out the behind the scenes video from IHdb's Facebook Video Library
Above: The hunters come face-to-face with Dracula!
In the months leading up to its release, Hollywood insiders who had seen the movie felt Coppola's film was too odd, violent, and strange to succeed at the box office and dubbed it "Bonfire of the Vampires" after the notorious 1990 box office bomb The Bonfire of the Vanities. But when it was released in 1992, Bram Stoker's Dracula became an instant success, grossing over $30 million in it's opening weekend (the Japan-based leadership of Sony was so new to Hollywood that after the film's record setting premiere weekend, they asked the American executives if the $30 million+ box office tally was considered a good result!). And needless to say with a final box office performance of over $215 million, earnings from the film American Zoetrope from bankruptcy after suffering from financial difficulties and liabilities of $27 million over the past 3 years.
Critics also praised Dracula, with Roger Ebert awarding the film 3/4 stars, writing, "I enjoyed the movie simply for the way it looked and felt. Production designers Dante Ferretti and Thomas Sanders have outdone themselves. The cinematographer, Michael Ballhaus, gets into the spirit so completely he always seems to light with shadows." Ebert did, however, voice criticisms over the film's "narrative confusions and dead ends". Jonathan Rosenbaum said the film suffered from a "somewhat dispersed and overcrowded story line" but that it "remains fascinating and often affecting thanks to all its visual and conceptual energy." However, Empire's Tom Hibbert criticized Keanu Reeves' casting and was not the only critic to consider the resultant performance to be weak. In a career retrospective compiled by Entertainment Weekly, Reeves was described as having been "out of his depth" and "frequently blasted off the screen by Gary Oldman". Virgin Media journalist Limara Salt, in listing the "Top 10 worst movie accents", wrote: "Keanu Reeves is consistently terrible at delivering any accent apart from Californian surfer dude but it's his English effort in Dracula that tops the lot. Overly posh and entirely ridiculous, Reeves' performance is as painful as it is hilarious." (Salt also said that Winona Ryder is "equally rubbish"). Reeves himself said years after the movie came out that he wasn't happy with his work in it, stating he had been exhausted from making several films right on the heels of signing on as Jonathan Harker, and that he tried to raise his energy for the role "but I just didn't have anything left to give".
Critics also praised Dracula, with Roger Ebert awarding the film 3/4 stars, writing, "I enjoyed the movie simply for the way it looked and felt. Production designers Dante Ferretti and Thomas Sanders have outdone themselves. The cinematographer, Michael Ballhaus, gets into the spirit so completely he always seems to light with shadows." Ebert did, however, voice criticisms over the film's "narrative confusions and dead ends". Jonathan Rosenbaum said the film suffered from a "somewhat dispersed and overcrowded story line" but that it "remains fascinating and often affecting thanks to all its visual and conceptual energy." However, Empire's Tom Hibbert criticized Keanu Reeves' casting and was not the only critic to consider the resultant performance to be weak. In a career retrospective compiled by Entertainment Weekly, Reeves was described as having been "out of his depth" and "frequently blasted off the screen by Gary Oldman". Virgin Media journalist Limara Salt, in listing the "Top 10 worst movie accents", wrote: "Keanu Reeves is consistently terrible at delivering any accent apart from Californian surfer dude but it's his English effort in Dracula that tops the lot. Overly posh and entirely ridiculous, Reeves' performance is as painful as it is hilarious." (Salt also said that Winona Ryder is "equally rubbish"). Reeves himself said years after the movie came out that he wasn't happy with his work in it, stating he had been exhausted from making several films right on the heels of signing on as Jonathan Harker, and that he tried to raise his energy for the role "but I just didn't have anything left to give".
TRIVIA: Director Francis Ford Coppola claims that Bram Stoker's name was included in the title because he has a tradition of putting the author's names in the titles of his movies that are adapted from novels, such as Mario Puzo's The Godfather (1972) and John Grisham's The Rainmaker (1997). Others have claimed, however, that Stoker's name was included in the title to avoid legal action from Univeral Studios, who claimed to own the rights to the simple title Dracula (1931).
Top: Francis Ford Coppola on set with Gary Oldman;
Above: Coppola on set with his children, Roman (Visual Effects Supervisor) and Sofia (a future Oscar-winning writer/director for Lost in Translation)
Nevertheless, Bram Stoker's Dracula was honored with four Oscar nominations and eventually winning three of them for Best Costume Design, Best Sound Editing, and Best Make-Up at the 66th Academy Awards ceremony in 1993. The film also won five out of an impressive ten nominations at the Saturn Awards, including Best Horror Film, best Director, Best Costume, Best Actor (for Gary Oldman) and Best Writing (for James V. Hart). "Love Song for a Vampire" by Annie Lennox (as the closing credits theme), also became an international hit.
ROTTEN TOMATOES SCORE: 78%
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