Tag Dr Jekyll and Mr Hyde

I, Monster (1971)

I, Monster (1971)

The most violent creature ever made by man!

Dr. Marlowe has been experimenting with drugs that release inner inhibitions. However the inner inhibitions which they release are murderous and lustful and he turns into his alter ego, the grotesque Edward Blake. His friend, Dr Utterson, is worried as Marlowe increasingly becomes more monstrous with each experiment and is finding it harder and harder to keep Blake under control.

 

I, Monster is an Amicus adaptation of The Strange Case of Dr. Jekyll and Mr Hyde, only for some reason the studio has decided to change the names of the title character – which is weird considering the film is actually credited as being “Based upon the novel The Strange Case of Dr. Jekyll and Mr Hyde by Robert Louis Stevenson” so it’s not like they were trying to do a cheeky cash-in. Given that the novel is easily one of the most filmed literary works of all time, it was maybe a deliberate attempt to avoid it being tagged with the rest. Despite this, within the opening few minutes it’s easy to see that this is Stevenson’s classic in all but name.

The stand-alone horror films that Amicus made always seemed to me to lack flair and excitement. The majority of them crawl along at a snails pace, offering little in the way of thrills to get the blood racing. The stories were a bit more sophisticated than the Hammer films but, without the panache, they just drift along in lifeless fashion and I, Monster is no exception. The plot covers plenty of Freudian psychoanalytical techno-babble and certainly presents itself as a more intelligent and thought-provoking horror film than its rivals, avoiding the cheap thrills and spills of the Hammer films. But amidst all of the talking and discussions is a dearth of anything remotely gripping. I, Monster makes, in my opinion, the biggest mistake that a film can make – it’s dreadfully dull. This could be down to inexperienced young director Stephen Weeks, only twenty-two at the time, who fails to direct with any style.

The film was intended to be released in an early form of 3-D and the gimmick is pretty useless here because it was abandoned during mid-filming. There are numerous annoying camera shots of Christopher Lee walking behind the twisted glassware in his laboratory and holding things up to the camera. It’s hardly in your face 3-D pandering but some shots are a little more obscure and unusual than the audience will be used to. I just wonder whether too much time, effort and money went into this short-lived 3-D experiment because the final running time is a weak seventy-five minutes. Did money run out during production? An extra ten minutes of footage to beef up characters or add in something to pack a punch wouldn’t have gone amiss. No further evidence is needed than the poor finale, seemingly rushed and with little effort.

However the cast is still excellent. Cushing isn’t given much to do despite second top billing but still brings his usual qualities to the role when he’s on-screen. As Marlowe/Blake, Lee is superb though and does a great job of portraying both of his split personalities though he’s rather uptight and stuffy in his ‘good’ persona role. His physical transformations happen off-screen but the end result is simply Lee wearing a pair of plastic teeth, a crooked nose and ruffling his hair up a bit. It’s how he handles his different on-screen personas that make the contrast between Marlowe and Blake so stark. At least he gets to snarl and bring some of his Dracula menace to this more sadistic side of his personality. Lee clearly enjoys playing the villain and chews up the scenery likewise. The only drawback is Marlowe starts testing the serum out almost straight away, not giving the audience any chance to get to know the character. Coupled with his pompous and aloof attitude, he doesn’t make for a very sympathetic character to begin with.

 

The basics are there and I’ve read countless reviews which state that its one of the most faithful adaptations of the novel but I, Monster is dull, plodding and a real slog to get through. Its hardly a total failure but not an interesting one at that.

 

 ★★★★☆☆☆☆☆☆ 

 

 

Abbott and Costello Meet Dr Jekyll and Mr Hyde (1953)

Abbott and Costello Meet Dr Jekyll and Mr Hyde (1953)

All New ! All Wild ! All Fun !

Two Americans cops visiting London to study police tactics find themselves drawn into the hunt for the murderer of a prominent physician. Their search leads them to Dr Jekyll, who can transform himself into the murderous Mr Hyde after injecting himself with a serum he has invented.

 

When Universal had exhausted the rehashing of their classic monsters after pitting them against one another in a series of ever-diminishing horror films, the studio only had the comedy spoof option left and they allowed their popular duo of Abbott and Costello the chance to goof around with them instead. Starting with Abbott and Costello Meet Frankenstein in 1948, the bumbling pair also crossed paths with the Mummy and the Invisible Man. Abbott and Costello Meet Dr Jekyll and Mr Hyde is arguably the least of their antics with the Universal monsters but features plenty of their trademark humour.

Like the other Abbott and Costello films, the plot is simply a flimsy excuse for the comedy duo to go through their usual slapstick motions. So if your tolerance for old school shenanigans isn’t high, then maybe it’s best to skip this one. But I’m a sucker for old school and some of the silly, juvenile comedy hits the right notes from a time when you didn’t have to rely on crude humour or gross-out gags to entertain an audience. The duo opt for the more physical slapstick comedy route in this one as opposed to the witty verbal exchanges of the previous films and it’s this lack of sophisticated comedy which hurts the film in the long run. There’s only so many times you can see people tripping up, falling over, bundling themselves around and running around like silly devils before it gets tiresome.

The highlight scene of the film involves ‘Tubby’ (Costello) accidentally injecting himself with the serum which then leads to all manner of mayhem as the main characters get the real Mr Hyde and the fake one mixed up. This leads to a sometimes-funny, sometimes-groan worthy chase through the streets and across the rooftops of London.

There’s also plenty of annoying burlesque dancing which Abbott and Costello films are unfortunately full of. It’s a bit out of place in turn-of-the-century London but when the streets are stereotypically fog-drenched and there are fish and chips shops on every corner, you could be forgiven for a few historical inaccuracies. To be fair, the Gothic sets do a good job of portraying Victorian London and there are moments when the film does strike a chord into the hearts of traditional Universal horror fans. But then the silliness starts up again and the good atmosphere and Gothic vibe is blown away with a series of childishly funny gags and routines.

Horror legend Boris Karloff stars as the sinister Dr Jekyll. Unlike other versions, Jekyll is just as dangerous as Mr Hyde. He’s a schemer who is madly in love with his young ward and is overcome with jealousy when she attracts the attentions of a dashing journalist. Jekyll actually likes turning into Hyde here – it’s not so much of a dangerous side effect to the drugs he’s experimenting with, it’s as if he turns into Hyde simply to get away with his lusts for murder. Karloff is completely wasted in the role and seems very restrained. Thankfully the character doesn’t degenerate into camp but it’s a pity Karloff’s considerable acting talents weren’t put to better use.

The transformation scenes do the convincing job that they need to do on the budget that the film has to offer and Mr Hyde looks more than a little monstrous when he’s decked out in his make-up. But this film is played strictly for laughs and any true horror elements are watered down to insignificant proportions. He might as well have been dressed as a clown for all the good it would do in the long run.

 

You’ll either love Abbott and Costello or hate them so Abbott and Costello Meet Dr Jekyll and Mr Hyde is going to be a weird one for most. I’d suggest watching the far superior Abbott and Costello Meet Frankenstein if you want to see the duo in their crossover prime. This one is strictly for fans.

 

 ★★★★★☆☆☆☆☆ 

 

 

Dr Jekyll and Sister Hyde (1971)

Dr Jekyll and Sister Hyde (1971)

The sexual transformation of a man into a woman will actually take place before your very eyes!

Dr Jekyll is a brilliant scientist who has spent his life trying to create an “antivirus” to cure some of the world’s most deadly diseases. But he realises that his quest to preserve life will ultimately be ended by his own death at some point and decides to test out a serum on himself which he hopes will prolong his life. He needs female hormones to be able to create this serum and enlists the aid of grave robbers Burke and Hare to provide him with fresh corpses to harvest. This supply doesn’t last long though as they are caught and he eventually turns to murdering prostitutes himself. The serum also has devastating side effects on him and he temporarily turns into a woman from time to time. Attempting to cover up the secret, he passes his alter ego off as widowed sister, Mrs Hyde. Realising where his work is taking him, Jekyll tries to stop the killing but Hyde is growing stronger inside him and beginning to take over his mind and body.

 

With Dr Jekyll and Sister Hyde, Hammer has created a bizarre but workable mix of the Jekyll and Hyde story, the Jack the Ripper murder case and the true tale of Burke and Hare, the notorious grave robbers, to create arguably the most deadly version of Victorian London you’ll ever see on film. There’s even mention of Sweeney Todd and the infamous meat pies. The mix works well though as the idea of Jack the Ripper being Dr Jekyll killing prostitutes for his own research is explained as well as it could be. It also gives purpose to the inclusion of Burke and Hare although these two stories (which have easily stood on their own in the past) are included to the detriment of the main Jekyll and Hyde story.

Robert Louis Stephenson’s classic story has been made into films versions time and time again but this was the first version to attempt a different spin. What a master stroke it was having Jekyll turn into a woman instead of a man. The gender conflict about whether man or woman will come out on top is interesting and it’s a pity that the film doesn’t really do as much with it as it arguably could. Matters are made worse when Jekyll’s neighbour, Howard, falls in love with Mrs Hyde and Howard’s own sister falls in love with Jekyll. What you get is a bizarre love triangle (or should that be square) and watching how it pans out is one of the highlights of the film. This could easily have been turned into a comedy (how many films about men dressing as women end up as comedies – Mrs Doubtfire, Tootsie, Some Like It Hot, etc.) but the film is no laughing matter despite some attempts at black humour. In fact there is a rather disturbing sexual element underlying the entire film with the film crossing into boundaries of homosexuality, transvestitism and gender confusion. In one memorable scene, Miss Hyde has been caressing the face of Howard but is then unaware she has changed back into the male guise of Dr Jekyll. The film is a straight up horror film though and only touches upon these themes. There is no larger scope at work here, trying to grapple with ideas and take chances with the material – its intention is to scare and shock and that’s it.

The original story saw Dr Jekyll and Mr Hyde as contrasting opposites, with Hyde being the inner monster unleashed into the world by the repressive Jekyll. However in this adaptation, Jekyll himself is just as bad, if not worse, than Hyde. He kills under the name of science in an attempt to justify his actions. His attitude of sacrificing a few low lives in society so that millions more could be saved is how many man men in history have turned to mass murder and genocide. Unfortunately because he’s such a nasty piece of work before he transforms, there’s no audience sympathy for him when he begins to lose control to Hyde. The supporting characters (Howard and his sister, Susan) are much more sympathetic because we know that their love with both Jekyll and Hyde is tragic and doomed to fail in the end.

Hammer’s inclusion of blood and nudity may not have been as welcome and relevant in some of their other horror films but it works well here because of the ‘sexual’ nature of the story and the violent manner in which Jekyll acquires his hormones. Watching Jekyll come to terms with being a woman for the first time and exploring his newly-female body is rather fascinating. You couldn’t do that with a few boobs! Hammer’s trademark period settings are also at their glorious best with the Gothic and seedy back streets of London being drenched in fog, darkness and eternal despair.

Ralph Bates was seemingly groomed as Hammer’s eventual successor to the leading man roles of Peter Cushing and Christopher Lee. However, Bates never really convinced anyone despite getting a few top billed outings. This is arguably his best work and although he’s still somewhat restrained in the role, he tries to conjure up his best mannerisms, tone of voices and attitude to bring this admittedly challenging role to life. Martine Beswick is Mrs Hyde and apparently only got the job because Caroline Munro wouldn’t go nude (damn it, I’d have paid to see that!). She oozes sexual aggression though, gets naked a few times and looks pretty unpleasant when she’s in murder mode. She does look a bit like Bates too so taking them as the same person is easy enough to believe. It’s a bit hard on her though to find her attractive in this film knowing who she is really portraying in the film.

 

Dr Jekyll and Sister Hyde is one of the better Hammer films to come out of the 70s when their output was dwindling in quality. Everyone involved seems to have pulled together to craft a suspenseful, atmospheric and at times graphic re-imagining of the classic novel. It’s highly underrated in the Hammer cannon but a definite must watch for fans of old school horror.