You probably know a thing or two about Jekyll and Hyde, or maybe you are an expert. The iconic novella by Robert Louis Stevenson titled Strange Case of Dr Jekyll and Mr Hyde was first published in 1886; one hundred and forty years later, the story has been adapted countlessly. It is a perfect allegorical framework for any issue of duality and who does this better than renowned actor-comedian Eddie Izzard playing both roles as seen in Doctor Jekyll?.
Indeed, there have been many portrayals of Jekyll and Hyde over the years but this latest version from director Joe Stephenson and writer Dan Kelly-Mulhern adds some interesting gimmicks to spice it up a bit – such as having the main character play the role of a pharmaceutical titan. Unfortunately though, this throwback Hammer Horror frightfest doesn’t satisfy our thirst for that much more.
Within its tight 89-minute run time, there might be moments when you wish Izzard were framed in every shot — every scene without him may elicit that “Show us more! Why’d you cut away?!” feeling: Not to mean he isn’t present throughout most of the film though even if he has to compete with the true protagonist also appearing on screen at times.
That character is young Rob played by Scott Chambers, who is suitably cast given that his performance also includes being Christopher Robin in Winnie-the-Pooh: Blood & Honey part 2, which was released recently. In addition to being featured in Malevolent thriller film, these two performances put Chambers on familiar ground here. He appears as an ex-convict desperate for work which Ewan (Morgan Watkins) helps get at the respected Jekyll estate.
The catch? At one time Rob was addicted to drugs while simultaneously being involved professionally in robbery activities. The intention behind Doctor Jekyll’s intended coldness is somewhat marred by Chambers’ youthful air at some points. You might see his innocent visage and think, “Seriously? An ex-con? Give me a break”, but well.
Thankfully, the main attraction of the movie is Chambers’ screen chemistry with Izzard and that works for the most part especially when Izzard seems much more likeable as Nina Jekyll than when he transforms into Hyde. The action starts once Rob gets to the place and Sandra (Lindsay Duncan), Nina’s witty housekeeper introduces him formally. With this stage set in place, there is a haunting classical score that also helps heighten these thrills.
Several things about Rob make Sandra wary of him but Nina finds herself taking an instant liking to this young man which eventually grows into friendship involving games of chess, late night talks among others. However, what seems wrong with this drug baroness and why does she sometimes act in queer ways are two things that continue to haunt her alongside other aspects conspiring against them both. Eventually, she confides in Rob that she occasionally morphs into an alter ego known as Rachel Hyde — one who in this version has been created through mistaken identity as a result of drugs going haywire. She fears Rachel might take control of her life completely hence requiring assistance from Rob if he wants to help her end it all.
However, the filmmakers obviously made a big mistake by trying to include more of a second storyline which is not appealing. This is where Rob’s extroverted ex-girlfriend Maeve (Robyn Cara) comes in and disrupts his life again despite wanting her out. The drunken hothead finds him in town and instructs Rob to empty Nina’s bank or she will reveal his true nature while stopping their dead daughter from visiting him bodily. Ouch!
It is a cruel kind of blackmail too, but it also confuses the more provocative themes at stake, like how the drug industry reinforces Jekyll & Hyde motifs and how Jekyll’s trans nature as indicated at film opening relates to the duality of the role suggested by its title.
Otherwise, Stephan Stephenson adroitly keeps Jekyll’s — as well as Izzard’s — queer fluidity inside while simultaneously leaving the identity swap between Jekyll and Hyde open-ended. However, they are undeniably disappointing choices. Even in its title itself acts as a caution; would audiences feel that there was only a part of what Izzard and team could do with this genius material had been offered if there were no mention of Hyde? Maybe.
This compensates for other typically British horror tricks which any cinephile would love such as how those beautiful yellow lights are always flooding through Gothic windows into Jekyl’ls room along with artifical lightening when sometimes suspenseful plots just fizzle out without an actual climax. When Maeve reappears once again during climatic third act things go haywire hence this elongated sequence might have been replaced by real scares or effects if fright-fest fans get their way It is worth giving Hammer another chance though it should be tripled up next time.
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