This 1920s version of Stevenson's famous novel "Dr Jekyll and Mr Hyde" has flashes of brilliance, particularly in John Barrymore's portrayal of Mr Hyde, the depraved doppelganger of uptight scientist Dr Jekyll.
The transformation sequences are not as technically complex as in versions to come, but Barrymore does a good job at twisting his features grotesquely before a dissolve into full make-up occurs. What is striking and quite surprising is that unlike the modern depictions of Hyde in films such as "The League of Extraordinary Gentlemen" (and also it's graphic novel original) as a huge, muscular Hulk-like creature or even the were-wolf like creatures in later versions, here he is more akin to the ratlike Nosferatu memorably played by Max Schreck in Murnau's 1922 classic. This is fitting as Mr Hyde is not a literal monster, but the manifestation of the id.
What is quite surprising, although this may be very naive on my part, is the way the film deals with this idea of Jekyll's suppressed sexual and hedonistic desires. Jekyll creates Mr Hyde with the help of science in order to be able to frequent the bawdy dance halls and back street bars and brothels which he can't do as Jekyll. Hyde, like Nosferatu, exudes a primal sexuality shown in one scene where he seduces two prostitutes in a bar, maybe hinting at some of Jekyll's repressed fantasies. I was surprised just how clear this was in the film, although I think Hollywood censorship began well after this era.
Visually, there aren't many exceptional moments, though the London streets of Mr Hyde's world are suitably murky. I did like the way the opening title cards introduced each character separately as they entered the story, complete with the actor's name, and many of the title cards had expressive pictures surrounding them which complemented the story. The supporting cast is pretty average, although Martha Mansfield is suitably pretty as Jekyll's beloved. Worth a look as an example of early American horror.
The transformation sequences are not as technically complex as in versions to come, but Barrymore does a good job at twisting his features grotesquely before a dissolve into full make-up occurs. What is striking and quite surprising is that unlike the modern depictions of Hyde in films such as "The League of Extraordinary Gentlemen" (and also it's graphic novel original) as a huge, muscular Hulk-like creature or even the were-wolf like creatures in later versions, here he is more akin to the ratlike Nosferatu memorably played by Max Schreck in Murnau's 1922 classic. This is fitting as Mr Hyde is not a literal monster, but the manifestation of the id.
What is quite surprising, although this may be very naive on my part, is the way the film deals with this idea of Jekyll's suppressed sexual and hedonistic desires. Jekyll creates Mr Hyde with the help of science in order to be able to frequent the bawdy dance halls and back street bars and brothels which he can't do as Jekyll. Hyde, like Nosferatu, exudes a primal sexuality shown in one scene where he seduces two prostitutes in a bar, maybe hinting at some of Jekyll's repressed fantasies. I was surprised just how clear this was in the film, although I think Hollywood censorship began well after this era.
Visually, there aren't many exceptional moments, though the London streets of Mr Hyde's world are suitably murky. I did like the way the opening title cards introduced each character separately as they entered the story, complete with the actor's name, and many of the title cards had expressive pictures surrounding them which complemented the story. The supporting cast is pretty average, although Martha Mansfield is suitably pretty as Jekyll's beloved. Worth a look as an example of early American horror.