La hija del médico y la bestia

Couple Gloria Talbott and John Agar travel to her father's secluded manorvestate to inform him of their engagement. Only her father (Arthur Shields) tells her that he's not her father, he only raised her, as her real father was the notorious Doctor Jekyll. Gloria wants to call off the wedding, but John insists they stay together, even when mysterious murders begin to take place around the manor grounds, with the finger pointing toward Gloria.

The budget is obviously limited, but Ulmer and crew do an admirable job of creating menace and eerie unease. The plot holds no surprises, however, and the "twist" is ruined by the movie's opening shots. For some reason they keep referring to the Jekyll curse as being a "human werewolf". They also manage to pronounce the name JAY-cull, GEE-cull, and JEH-cull.

Most of the time this movie is creepy and decently shot reminding me at best of "Night of the Hunter" and at worst of atmospheric fog machine filled horror. I thought of "Night of the Hunter" during the scene where the Daughter waits outside her father's tomb while in the same shot we see the big village man carving a stake. Very ominous. That said, the stake death is the worst I've seen.

The technique of superimposing one shot over another for action/dream sequences worked well in my opinion, but others may find it unoriginal. Monster make-up and blood effects were pretty good. Over all the movie is serious with a comic moment I liked with the Monster showing obvious joy as he views a women in her night clothes through an open window. The narration at the beginning and the Monster's ridiculous line don't fit the mood of the picture.

Technically this should be listed under "Goofs" as it not so much a review. While watching the film I noticed during the two scenes that occur around the breakfast table if you look out the window, just past the fake foliage, you will notice late 1950's cars whisking by on an obviously very busy street. The story is set on an isolated wooded estate 20 years after the death of Dr. Jekyll which should put this in the early 1900's. Gloria Talbott is seen wearing a corset and a bustle with high button boots and John Agar wears a striped jacket like those worn by barber shop quartets. Obviously there should not be sedans whizzing by the estate. The only reason I wanted to see this film was due to the participation of Gloria Talbot-a real 50's fave and quite the knockout. She did not disappoint.

Not an easy film to get to see in the UK. I had read many reviews giving this film the thumbs down; when I finally saw it I thought it was an excellent example of a 1950's horror/sci-fi movie attempting to cash in on the current trend which was tending towards the sci-fi element.This film hedges its bets by having both elements i.e Dr Jeykyll's potions for sci-fi and the "werewolf" for the supernatural horror. It also has the element of the "mystery" created by Arthur Shields'(Barry Fitzgerald's brother) attempts to explain everything away. All no doubt intended to mystify the teenagers who were the film's target audience. However,in spite of all this there is a nice creepy atmosphere to the film and it kept me interested for the 75 minutes or so running time.(Apparently for US TV airings,the "monster chase " scene from "Frankenstein 1970"was added in an attempt to boost the length.) Now for the question-is the film's "success" due to Edgar Ulmer's presence? Personally I think so but I am apparently in the minority

Not to be confused with "Dr. Jekyll and Sister Hyde" (1972) or "Dr. Jekyll and Ms. Hyde" (1995), "Daughter of Dr. Jekyll (1957) is a moderately interesting quickie from legendary Poverty Row director Edgar G. Ulmer. In this one, Gloria Talbott--who would find the role for which she is perhaps most fondly remembered in the following year's "I Married a Monster From Outer Space"--learns, on her 21st birthday, that she is the eponymous daughter of the infamous scientist. This causes her and her fiancé, 1950s sci-fi stalwart John Agar, some understandable angst, especially when a series of murders commences in the nearby village... To be painfully honest, there really is nothing much to this movie, but Ulmer directs with so much panache, and Talbott, as usual, is so pretty and appealing, that these two elements put the film over. Especially effective are two surrealistic nightmare episodes suffered by Talbott, as well as Ulmer's use of fog and swirling mist; his cloud-covered moon shots are a real thing of beauty, too. On the down side, we have a surprise ending that is not much of a surprise, and a plot that would have us believe that Jekyll's alter ego Hyde was really a bloodsucking werewolf! This film is certainly not the horror masterpiece that Ulmer's "The Black Cat" (1934) turned out to be. Still, it IS fun, and this DVD is as crisp and clean looking as can be. Modern-day interviews with Agar and with Ulmer's daughter make for nice extras, too.