Dr Jeykll And Mr Hyde

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Plot: Dr Henry Jekyll, an upstanding surgeon in Victorian England, is frustrated in his desire to marry his beloved, Muriel Carew, by her pompous father who insists that he must wait eight months so as to marry on the same date that he married his wife. However Jekyll perfects a formula that allows him to let the animal side of his nature free. Taking the formula, Jekyll physically transforms into a bestial creature that he calls Hyde. Hyde roams the disreputable areas of London where he makes an innocent showgirl/prostitute his and keeps her in mortal terror. However Jekyll soon finds that he is unable to control Hyde’s appearances.

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This is one of around 20+ adaptations of Robert Louis Stevenson’s novella The Strange Case of Dr Jekyll and Mr Hyde (1886) – which makes it the horror genre’s most ever adapted story. (That’s not counting various sequels featuring sons and daughters of Dr Jekyll, X-rated versions, musical versions, parodies, and versions where Dr Jekyll turns into a woman). Whatever the case, this is the best of all the adaptations. It came out New Year’s Eve of 1931, the same year that also brought us other classics such as the Boris Karloff Frankenstein (1931) and the Bela Lugosi Dracula (1931). Frankenstein, Dracula and Dr. Jekyll and Mr. Hyde are like a triumvirate of horror stories. They are, as Stephen King argued, the templates for most other horror stories. And in turn all three of these films have cast giant shadows over horror cinema in their formative treatment of the respective monsters, shadows that continue to influence the genre to this day.

The Robert Louis Stevenson story is a work of psychological conjecture that predates what Freud would later hypothesize about the individual’s struggle between responsibility toward socialization (superego) and humanity’s baser drives (the id). What makes this version of Dr Jekyll and Mr Hyde most interesting is the addition of clearly sexual undercurrents. Dr Jekyll is plainly frustrated in his love for Muriel by her father’s absurd insistence that he wait eight months for their marriage. To the story has now been added the character of a dancehall girl (which the film all but comes out and says is a hooker) with whom Hyde takes up. Throughout, the film maintains a bad girl/good girl polarity between the dancehall girl and Jekyll’s fiancee as a kind of sexual objectification of the dual divide of Jekyll’s two natures – one girl represents virtue, the other represents wanton sexuality.

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