Le Fils du Dr. Jekyll

Most of the IMDb reviews are right on. This feature is atmospheric, but except for the opening and a rather illogical closing scene, is pretty low on thrills. In between, grouchy Louis Hayward runs around and gets into little fistfights, but as Jekyll. Hyde is almost unseen in the story. Blooper highlight: as one reviewer mentioned, you do see the romantic leads-supposedly at the turn of the century-- bidding each other farewell in the front yard of an obviously 1950's suburban house a la "Leave It to Beaver."

Rather than following in father's footsteps, this (obviously lookalike) progeny takes it upon himself to clear the old family name – but is misunderstood at every turn. Ponderous offshoot of a well-worn formula (pardon the pun), acted for more than its worth; nowhere near as wacky as Edgar G. Ulmer's DAUGHTER OF DR. JEKYLL (1957), but just as watchable under the circumstances. Indeed, the fanciful kinsmen of famous literary monsters were a staple from the 1930s onwards and, while some of the end results were not only commendable but remarkable, it generally meant that the rot had set in that particular source and that exploitation film-makers were milking a catchpenny moniker for all it was worth. To spice things up a bit here, Louis Hayward (as the titular character) is brought up by Jekyll's attorney Utterson (Lester Matthews) as his own son and is only told of his heritage – by Jekyll's duplicitous(!) colleague Dr. Lanyon (Alexander Knox) – when he is – here it comes again – booted out of college for his unorthodox experiments! Familiar character actors Paul Cavanaugh and Rhys Williams – as, respectively, the investigating Inspector and the proverbial butler – also put in an appearance but have fairly little of note to do. Curiously enough, although Hayward does get to don the "Mr. Hyde" make-up in the film's prologue, the actual monster in the film proper is somebody else – though contriving to expire in the exact same new way devised by the film-makers earlier on: falling to his death from a window ledge!!

Son of Dr. Jekyll, The (1951)

* 1/2 (out of 4)

Dr. Jekyll's son (Louis Hayward) goes back to the laboratory to try and prove his father wasn't a monster. This film actually gets off to a pretty good start but things quickly fall apart making this a rather poor film in the end. The performances from everyone in the cast are actually pretty good, which is shocking for this type of film. The first transformation scene is also very well effective but after this there isn't much here. The film seems to think that the viewers didn't want to see a monster but instead sit around and listen to bad dialogue. There's way too much talk going on in this film and this here makes it quite boring.

MORD39 RATING: * out of ****

Get your pillow ready for this sure-fire cure for insomnia. Mr. Hyde is nowhere to be found in this dull and tiresome dud that features Louis Hayward as the son of the infamous doctor trying to find out what his old man was up to in that laboratory.

Interest wanes almost immediately as we wait for some kind of attempt at action to develop. It takes a very long time for this possibility to gain ground, but by that time it's too late for those who are still conscious.

As stated, Mr. Hyde is practically a no-show. I don't blame him for not sticking around.

What a lovely movie to look at. Wonderful costumes and sets make this movie a real treat to the eye. Some of the best I've seen in a period horror film. The acting is also quite good. It's just too bad that this is all The Son of Dr. Jekyll has to offer.

It's easy to see why this film was titled The Son of Dr. Jekyll and not The Son of Mr. Hyde. Other than the opening scene where Hyde (I'm not entirely sure it was Hyde) has about five minutes of screen time, we see him for less than 10 seconds in the rest of the film. Very disappointing. Without Hyde, Dr. Jekyll has a tough time carrying a movie by himself.

The movie is really more of a crime mystery than a horror regardless of how it is listed on IMDb. The "son" spends the majority of the movie tying to figure out who is framing him as mad killer. While it is a decent enough idea for a movie, the killer's true identity is given away so early that there are few dramatic or tense moments later on.