skjam

The Two Faces of Dr. Jekyll (1960) dir. Terence Fisher

Six years ago, Dr. Henry Jekyll (Paul Massie) was laughed out of the scientific community for his wild theories about the dual nature of human consciousness. Since then, he's been a recluse spending the majority of his time on his experiments with lab animals, and neglecting his lovely wife Kitty Jekyll (Dawn Addams). He has only two regular visitors, Dr. Ernst Lithauer (David Kossoff), the only scientist that didn't write him off, but worries about his health, and Paul Allen (Christopher Lee), a wastrel and gambler who befriended Jekyll at school, and hits him up for money whenever the cards go bad. (Good thing Dr. Jekyll has an independent income and doesn't need to work for a living!) Kitty frequently badmouths Paul to her husband, but is secretly having an affair with him.

As you might have expected from knowing this story already, Dr. Jekyll invents a formula that alters his personality, turning him into the "limitless" Mr. Edward Hyde. On his first night out on the town, Hyde happens to run into Kitty and Paul, and charms his way into being their new best friend. Shortly thereafter, Hyde also takes an interest in exotic dancer Maria (Norma Marla) and starts courting her. But he has two problems. The first is that the formula keeps wearing off, returning him to the dull and weak Jekyll. The second is that the world isn't ready for a man who's truly without limit, who is completely "free."

This movie was the second of three times Hammer Studios adapted the classic Robert Louis Stevenson story, The Strange Case of Dr. Jekyll and Mr. Hyde. The first is relatively obscure comedy The Ugly Duckling (1959) and the third was the even more lurid Dr. Jekyll & Sister Hyde (1971). As it was already much-adapted and has become part of the background knowledge of our culture, much of the interest is in how the changes are rung.

This Doctor Jekyll dismisses the notions of "good" and "evil", instead talking of "man as he could be", the part of our nature that aspires to improvement and higher behavior, and "man as he would be", freed of internal constraints and free to act on any impulse. He must confront and understand the "would be" man, he says, in order to create the "could be" man. Henry is a hirsute introvert, speaking in a husky voice and laser-focused on his research. Edward is a clean-shaven extrovert, brimming with self-confidence and superficially charming, but easily distracted by his latest whim.

Hyde is amused by the fact that Paul and Kitty don't realize who he is, and thinks that first enabling Paul's bad habits and then using them to extort the man into "giving" him Kitty is a hilarious joke, having an affair with his own wife! And while he's a monster morally, this Hyde isn't especially powerful, getting himself drunk and mugged because he's not experienced in the ways of the underworld.

Kitty is unfortunately the old cliche of the "anti-science wife." She has zero interest in or understanding of her husband's research. That research takes up ninety percent of his time, and they're childless, so Mrs. Jekyll feels stifled and bored. She spends a lot of her time keeping up with social engagements that Henry can't be bothered with, which gives her plenty of cover to go dancing and...other things with Paul. She does recognize that while Paul is a lot more fun than Henry, he's not exactly a good provider. And while she's charmed by Edward, she has enough on her plate.

Paul is not a good person, in fact he's a rotter, but he, unlike Hyde, has limits. He might sucker-punch a man, but won't keep pounding on him once he's down, but Hyde will. He's okay with taking Dr. Jekyll's money and diddling his wife, but only as long as Kitty is okay with this. He enjoys taking Edward around to the fleshpots of the city when that man is funding his debts, but it turns out he's pretty conventional in his own vices, and balks once he learns Hyde's full price. Christopher Lee is of course a delight in the role.

Alicia is a proud young woman who trusts her constrictor snake more than men, and deservedly so. She's in an occupation that leaves her very vulnerable to the law and her clients, so she has to understand her own worth and keep up her defenses. She falls hard for the supremely confident and virile Hyde, which leads to tragedy.

Content: Murder, suicide, bareknuckle boxing, assault. Marital infidelity, extramarital sex (off camera), prostitution, sexual assault. Partial nudity, lots of women's outfits that are way too skimpy for 1874, exotic dancing. One extended dance number is basically just women flashing their undies over and over like they were in a shounen ecchi anime. Alcohol and opium abuse. Ophidiophobes should be aware there are several snake scenes. Ophidiophiles will be delighted to know the snake does not die. Gendered slurs. Older teens should be okay, maybe don't show this one to preteens. The "Icons of Horror" DVD has the full movie, other versions have minor cuts for content.

Overall: A less-seen but still good version of the Jekyll and Hyde story. Most recommended to Christopher Lee fans, but horror fans in general should enjoy this.

Night and the City (1950) dir. Jules Dassin

It is night in the city, and Harry Fabian (Richard Widmark) is returning to the London flat of his girlfriend, Mary Bristol (Gene Tierney). As usual, he owes money to some bad people. But he's got a great idea for a greyhound race, if he can convince Mary to spot him the few hundred quid needed for seed money. She's not buying it; she knows Harry has a lot of imagination, but little common sense. In fact, she needs to borrow walking around money from a neighbor herself!

The closest thing to steady work Harry has is as a tout, going about town and persuading people with money to visit the Silver Fox nightclub for which he gets a few shillings a head. The Silver Fox is owned by Philip Nosseross (Francis L. Sullivan) and managed by his wife Helen (Googie Withers). Helen and Harry have a history, but she married Phil for his money--only to find out he's a tightwad who won't let her have any of it for her own. Phil very much loves Helen, but knows that he can only control her if he keeps control of the money. Mary also works at the club as a hostess and singer.

Whilst plying his trade in the audience of a wrestling match, Harry is able to make the acquaintance of Gregorius Kristo (Stanislaus Zbyszko) one of the all-time great professional wrestlers, and his protege Nikolas of Athens (Ken Richmond). Gregorius' son Hermes Kristo (Herbert Lom) has a monopoly on wrestling promotions in London, but now has switched to "show" wrestling which is scripted and more about spectacle than art. The younger Kristo's star is The Strangler (Mike Mazurki), a dim-witted, ill-tempered brute, who puts on a good show. Gregorius is disgusted by this, and plans to return to Greece with Nikolas in search of old-style Greco-Roman wrestling.

Harry has an idea. While Kristo won't obey his father, he very much still loves and respects the old man. If Harry can become partners with Gregorius in a Greco-Roman wrestling promotion, Kristo will have to allow Harry to operate rather than oppose his father. And leveraging from that, Harry can eventually gain control of all wrestling operations in London. A life of ease and comfort is at hand...if Harry can somehow get the pounds to fund the initial setup!

Harry's shady friends are either tapped out themselves or unwilling to take a risk on a new racket. In desperation, Harry tries to get the money from Phil, who just laughs at him. Helen suggests that if Harry can raise half the money himself, then Phil will match it, and Phil agrees. Later, Helen reveals her plan. She's sold an expensive fur coat and will front Harry the funds so that he can get the rest from Phil. In exchange, she wants Harry to obtain a nightclub license for her own secretly purchased establishment (which was available at a bargain price because the previous owner had gotten it banned by the police.) Once she has her own place, Helen will be able to leave Phil because she knows how to do actual management.

Harry agrees, and Phil becomes his silent partner. What Harry doesn't know is that Phil has figured out where the money came from, already has been contacted by Kristo's solicitor, and has his own scheme in play. Harry's finally on the way to success, but is already doomed.

This black and white film from 1950 is based on a novel by Gerald Kersh and is a fine example of film noir. It takes place almost entirely at night, in the seedy underbelly of London. While several of the characters aren't themselves doing anything illegal, they associate with people who are, and their occupations aren't high class. Harry, the protagonist, is not a good person. He may have hustle, but he will lie, cheat, manipulate and steal to achieve his goals, and is easily manipulated by those that recognize that fact. It's obvious from the beginning that Harry's not going to get his life of ease and comfort, but almost no one in the story is going to walk away happy.

The director (going on the Hollywood blacklist so this would be his last American-produced film) and actors do a fine job. The wrestling scenes look authentic, and nighttime London stands out as a setting.

I like the sense of impending doom that Harry really should have seen coming, and the way things fall apart for everyone involved.

Content note: Considerable smoking and drinking, Harry's preference is for gin. The big wrestling scene is brutal despite no blood; you can believe a man is going to die of it.

Overall, an excellent film of its type. My set has both the American and English cuts, which are slightly different in focus, and very different in soundtrack. Recommended to lovers of noir.