El hombre y el monstruo

A neglected masterpiece. When I picked up the two sided DVD I was excited because the Fleming/Tracy version is on the order of a guilty pleasure. But I soon realized that I had never seen the 1931 version. This is a film that lingers in the memories of many film goers as still photographs of Frederic March in his makeup. Watching it was a revelation. The same changes to original content - Jekyl's bride-to-be and her family - continue to wear wearily on the production, but nothing could prepare me for March's work. As often as we've seen "transformations" - this one is the BEST. Then young lion director Rouben Mamouilan pulls out some dandy tricks. And the sexually charged atmosphere before the Hayes code - was well - sexy as hell. Do yourself a favor and watch it.

An exceptional cast and intelligent direction seals the quality of the first 'talkie' version of Robert Louis Stevenson's tale. Often hailed as the best of the many screen adaptations of the story, director Robert Moumalin exploits the symbolic potential of the tale as well as boldly tapping into popular Freudian trends concerning sexual repression. The result is not a by-the-numbers rendition but an effective interpretation with quirks and dimensions of its own. Yet the film belongs to Frederic March who scooped an Oscar for his sensational dual role. Although as Jekyll he unfortunately has to trade flowery romantic dialogue with Rose Hobart, there can be no disputing the menace of his Hyde, with his simian-like appearance, top hat, cloak and cane, who turns cockney hooker Miriam Hopkins' life into a nightmare. It's a breathtaking transformation both physically (thanks to stellar make-up and special effects) and artistically and is undoubtedly the centrepiece of this excellent vintage classic.

As this film demonstrates, director Rouben Mamoulian (Applause (1929)) and cinematographer Karl Struss (Sunrise (1927)) were two of the great innovators in renewing the role of the camera for the talkies. Lesser talents began the talkies much the same as silent films began: with a static camera. The sound is still creaky, as usual, with awkward silences, but it's not bothersome. The editing isn't always seamless here, either, and, at times, makes the film seem unpolished, but that, too, is minor. This is the best version of Robert Louis Stevenson's novella "The Strange Case of Dr. Jekyll and Mr. Hyde", in my opinion, and that has very little to do with the actual story adaptation, which comes more from the stage, anyhow. It's the role of the camera that's remarkable.

I don't mean to say that this adaptation is of little interest; it's especially interesting when compared to the novella and its other adaptations. The 1920-John Barrymore version features a more grotesque Hyde and a stiffer Jekyll. Here, Jekyll is, at first, full of gaiety and youthful exuberance. That's more faithful to the novel, but also reflects the filmmakers' intentions and the changes in Hollywood. The 1920 film was bolder in content in some respects; it was a mood piece of horror and atmosphere. The fogy lamp-lit slums of London are still realized vividly in this one, but much of the feeling in them is lost. On the other hand, the mirror motif comes out more here, which corresponds nicely with the doppelgänger (or doubles) theme inherent in the story. This 1931 film is of the classic Hollywood era. The added emphasis on the romance between Jekyll and Muriel is a result. This version is about more than the story, though; the major focus is in the camera-work.

The film begins with about three and half minutes of long point-of-view takes, with a mobile camera, from the perspective of Dr. Jekyll. It establishes the camera as an active participant in the film, rather than merely a static recorder. Throughout the picture, the camera continually moves--from slight zooms, dollies, pans and tilts to dance-like tracking shots during the party sequence. Additionally, some extreme close-ups show only a character's eyes. A POV shot during Jekyll's first transition into Hyde turns into spinning memories, which is in addition to the special effects that allow for transformations that are seen with fluent, unbroken rhythm from the camera's eye.

The camera positioning is varied, as well, and some shots are extraordinary just in their positions. The photography exploits the sets to greater effect occasionally, and the filmmakers position props with the camera especially well and in rather thematic ways that apply to the story. Yet, the photography is most brilliant when not subject to much scene dissection: long takes that are unbroken and add more fluency to the already tight plot.

One could say this is showy film-making; even the transitional effects seem to draw attention to themselves: lengthy dissolves that linger as superimposed images (such as the image of Ivy's legs over the image of Jekyll and Dr. Lanyon's debate) and wipes that create brief split-screen shots. But, the camera is the most essential part of film-making (along with editing), and it seems negligent to subject it to a role of impotence--to just recording an enacted play. This 1931 "Dr. Jekyll and Mr. Hyde" is a cinematic artwork and shows what film should be concerning the role of its most basic apparatus.

It's amazing that years before Sigmund Freud was writing about stuff like the ego and the id, Robert Louis Stevenson, a great writer, but not a man of science, was able to grasp at what Freud later said about human behavior. There lurks in all of us a beast capable of doing great evil, that man's civilized self is forever trying to control.

Henry Jekyll, London society doctor, is engaging in experiments to prove that theory. He's a gentleman in every sense of the word, engaged to a proper English girl played by Rose Hobart here. It's funny, but in none of the adaptions of this story is it ever explained what could be in the potion that Jekyll concocts and drinks. But drink it he does and Jekyll becomes the simian like Mr. Hyde, evil incarnate itself.

Another reviewer pointed out the film is actually based on a play adapted from the novel and done originally on stage by Richard Mansfield in London. In that play the character of Ivy, a girl no better than she ought to be attracts the attention of Jekyll when he stops a man from assaulting her. He takes her up to her flat and she makes an effort to seduce him. He resists, but the beast within remembers.

This film becomes one of the first to deal with the phenomenon of stalking. Miriam Hopkins is a comely Ivy and Ivy herself is one of the most luckless characters ever created in fiction whether she was in the original story or not.

Dr. Jekyll and Mr. Hyde made movie audiences and critics start to take Fredric March seriously as actor. Up to then he had played a variety of lightweight parts on screen. Even so Paramount after this still insisted on still casting him in those roles after he won an Academy Award for Best Actor. When he got free of that studio contract March got the parts he was so capable of.

When MGM wanted to remake the film for Spencer Tracy they bought not just the rights from Paramount, but the film itself. It was not seen for many years and the VHS version I have of it has an MGM opening logo, but the cast at the end says Paramount. Kind of unusual to say the least.

I do disagree with the application of the term science fiction to this story. Hyde is a beast. But he's not something created by nature or man, nor is he an alien from another world. We all have a Hyde within us, it's how well we control him in our selves, and how well as a society we control the Hydes that would do us harm that deems whether we survive as a society or not.

Hyde is very human, with no superhuman powers and no created weaponry. Takes an extraordinary actor to play Jekyll and Hyde and do it well. Only the best take a crack at it like John Barrymore, Spencer Tracy, Jack Palance, and Kirk Douglas. And March is one of the very best. See for yourself.

Fredric March shines in this early screen version of the enduring Robert Louis Stevenson story which explores the duality in all of us. Dr. Henry Jekyll (March) is a scientist advancing such an idea which doesn't sit well with his peers. Naturally, when he dares to pursue such heretical fancies he will pay a price: his Mr. Hyde is an ugly brute who completely gives in to all of mans' basest impulses, and this gets him in deeper and deeper trouble. When watching this adaptation, one can hardly fail to notice the style and innovation brought to the camera work, the editing, and the scene transitions, as we get an early version of what's come to be known as split screen. The film even begins with what we know as the subjective camera technique where we see things from a characters' perspective, in this case Dr. Jekyll, and it's at least a couple of minutes before we switch to an objective view. The Expressionist cinematography was done by Karl Struss. The way that the transformation scenes are done would be revisited in such later films as "The Wolf Man", and the convincing makeup is done by Wally Westmore, an under-rated and overlooked makeup effects man from this period whose work can also be seen in "Island of Lost Souls". Director Rouben Mamoulian and the screenwriters, Samuel Hoffenstein and Percy Heath, are able to inject their material with a ripe amount of sex, as this was done in the pre-Code days. Musical performer and actress Miriam Hopkins shows quite a bit of leg, for one thing. And in scenes where she must contend with the beastly Hyde, there's an undeniable amount of uncomfortable sexual tension. The actors are all superb, and it's very noteworthy that March should have won a Best Actor Academy Award for his performance(s) as it's not that often the Academy acknowledges horror films for this aspect. March is believable every step of the way; when he's Jekyll you can't help but like him, when he's Hyde he just creeps you out. Hopkins is equal parts touching and saucy, and Rose Hobart is appealing as Jekylls' bride to be Muriel. Holmes Herbert, Halliwell Hobbes, Edgar Norton, and Tempe Pigott comprise the rest of the solid supporting players. With all of this going for it, the '31 production of "Dr. Jekyll and Mr. Hyde" is worthy viewing for fans of the classic black & white horror films who want to discover the kinds of things that filmmakers could get away with before the Code started stifling their creative efforts. This story has of course been done many times since, but this would be the ideal adaptation with which to start. It's available on a flipper disc from Warner Bros. that pairs it with the 1941 version starring Spencer Tracy, so one can have an interesting time comparing the two films. Seven out of 10.