Cast:
Fredric March (Dr. Henry Jekyll / Mr. Edward Hyde), Miriam Hopkins (Ivy Pierson), Rose Hobart (Muriel Carew), Holmes Herbert (Dr. John Lanyon), Halliwell Hobbes (Brigadier-General Danvers Carew), Edgar Norton (Poole), and Tempe Pigott (Mrs. Hawkins) Directed by Rouben Mamoulian (#773 - Applause and #1869 - The Mark of Zorro [1940])
Review:
Well, I'm sure you are familiar with at least one adaptation of the 1886 novella The Strange Case of Dr Jekyll and Mr Hyde, as written by Robert Louis Stevenson. The novella was popular enough to inspire a stage play in 1887 by Thomas Russell Sullivan, who was asked to write it by actor Richard Mansfield because he was intrigued at the idea of playing two roles. In the 20th century, a handful of the Jekyll and Hyde films took their inspiration from the play, and the screenplay by Samuel Hoffenstein and Percy Heath here is not too different. Undeniably, this had been on my to-do list for quite a while, because how could I resist the urge to do a 1930s horror film made by a major studio that wasn't from Universal? The only other Jekyll film I watched was the 1920 edition with John Barrymore, but that was five years ago (incidentally, 1920 also saw the release of Der Januskopf, a F.W. Murnau production that had Conrad Veidt as the star that is unfortunately lost). Besides, the pre-Code era is never a bad one to look through when it comes to the days of getting in tune with "talkie" films and literary adaptations that engage in a degree of entertaining acting along with the fact that one could even see the film at all. Cuts had been made later in the decade for a re-issue due to the Code, but thankfully those scenes are still around. When MGM made their own version of the Hyde story in 1941, they had Victor Fleming as director and Spencer Tracy as the star while making sure to purchase the rights to the previous 1931 film and they basically hid it to avoid competition, which meant one couldn't really study it or rescreen it on a regular basis for the next two decades (ironic too, because the 1941 film is generally considered fairly inferior to the 1931 movie). Apparently, it was Mamoulian who suggested the use of March for the lead role rather than Paramount's idea of using Irving Pichel (or Barrymore, but he was busy at MGM) because he would be fine but "not handsome enough" for the role of Jekyll. The makeup was done by Wally Westmore, but the key element to the effects for transformation came with cinematographer Karl Struss, who noted the use of panchromatic film with differing color in makeup for certain filters to go with certain camera shots. He actually felt that the effect for Hyde looked too much like a monkey while wishing it was more of a psychological change with subtle effect for the change in the mental state.
Eventually, one sees the deterioration that comes with the arrival of Hyde to the scene, which does make for a useful 98-minute venture of costume drama in atmospheric scares. It is the kind of thing one would retain in their memory to go along with other present 1931 novel "adaptations" with Frankenstein and Dracula (either version). Evidently, one sees March as Jekyll just a notch above when they see him as Hyde in terms of scenes/time, which manages to come off as two distinct people in the boisterous way that March plays his hand. The film isn't a stagy stodgy adaptation in part because the camera action is focused on establishing the tension that comes from a man waiting to burst out of his traditional chains, whether that involves POV shots (which actually start the film) or the eventual crash of man and pre-evolved man. It probably isn't surprising that he won an Academy Award for this film (sharing it with Wallace Beery), because he is tremendous here, showing the tragedy that comes with curiosity that goes too far, which involves desperation and lunacy that impulsively strikes fear for those around him. Those transformation sequences (by potion or later by impulse) are astounding, and that first sequence of Hyde in the open as one of uninhibited design and desire works to what the film wants in distinct characterization with useful effect. What we have is a victim of his own desires. Hopkins and Hobart make up both sides of the impulse here, whether that involves charm or stuffy patience for the scenario presented in upbringing (one lives in a boarding room and the other is not allowed to marry until it reaches a certain day), which makes for a quality payoff when seeing the result of overblown desire (or passionate frustration). The rest of the cast play their parts in the roundabout way to be expected, contrasting the impulsive March handily. In total, this is a splendid horror film in its camera construction and its headliner performance from March that makes for a neat encompassing film still fit for the times required.
Overall, I give it 8 out of 10 stars.
Next up: Night of the Creeps.
