Dr. Jekyll and Mr. Hyde

In my opinion this is an excellent remake of the classic story. Kirk Douglas in the role of Dr. Henry Jekyll and his evil counterpart Mr. Edward Hyde, is as good as Fredric March was in the 1931 film, and better than Spencer Tracy in the 1941 version.

And Susan George is better for the part of two bit hooker than both Miriam Hopkins (1931) and Ingrid Bergman (1941).

Only blemish is the singing, which does not contribute to the atmosphere but almost destroys the tension and excitement.

Overall though a very good enjoyable film.

Dr. Jekyll and Mr. Hyde (1973)

** (out of 4)

Extremely uneven, made-for-TV version of the Robert Louis Stevenson novel finds the kind Henry Jekyll (Kirk Douglas) being turned down by an insane asylum when he asks permission to treat one of their patients with his new drug. With no where else to turn Jekyll decides to try it on himself and soon he's transformed into the evil Mr. Hyde. This film originally played on NBC and has become somewhat of a Holy Grail for me over the past couple years because no matter how hard I tried I just could never track down a copy. Finally the movie showed up and I must admit that it was pretty disappointing but in areas that I really wasn't expecting it. I'll start off by saying that you're entertainment level is going to depend on how many of the songs you enjoy. I'm not sure how well a Musical version of the Jekyll and Hyde story went over back in the day but when viewing this film today one can't help but, at times, roll their eyes and laugh. I've heard rumors that some of the songs here were originally cut from OLIVER! but a few experts say this isn't true. I certainly hope not because I found the songs here to be incredibly boring, stiff and just downright flat. I guess, to be fair, you could say that some of them were inventive in terms of the lyrics but they still didn't work for me because I just didn't find any energy or emotion in any of them. Another problem is that director Winters is all over the place and never really seems to know how he wants the film to play. At times you'd swear you were watching some sort of spoof because of how over the top some of the performances and songs are. Just take a look at the first transformation sequence with Douglas turning into Hyde and you'll be wondering why the director never stepped in and demanded a second take. There were actually several moments where I wondered if an outtake had slipped into the production because the numbers were either that bad or just didn't live up to be anything special. Douglas seems a bit too laid back as Jekyll but he does manage to come to life as Hyde later in the film. I think the crazier Hyde gets the better Douglas' performance becomes. The real shock here is Susan George who plays the role of the prostitute. I'd dare say this is the best performance I've seen her in next to STRAW DOGS and her singing was actually very good. Another major thumbs up goes to Donald Pleasence who plays a watch thief and he too manages to sing quite well. Michael Redgrave appears briefly and is a bit too wooden. The set design is actually pretty good looking and the costumes are another major plus but these few good things can't save an otherwise dull film. If one enjoys the music they'll probably rate this one a bit higher but I'd say the majority of people are going to walk away disappointed.

It has always been my humble opinion that the best player in the history of the screen who could go quickest into a rage and convince you of it is Kirk Douglas. So the dual role of Dr.Jekyll/Mr.Hyde should have been a natural for him. And when it's strictly acting Kirk takes his place along side John Barrymore, Fredric March, Spencer Tracy even to the guy who created the role in the Victorian era theater Richard Mansfield.

But this musical adaption of Dr.Jekyll And Mr. Hyde fails precisely because of that, it's music. Lionel Bart who wrote so many good songs in the 60s for British pop stars and the score of the musical Oliver was in a lot of financial and health problems. The story goes that Bart opened the trunk and provided a lot of previously unpublished stuff for the score. It hadn't been used because it wasn't that good.

Can't critique the cast here though only Stanley Holloway as Poole the butler could be properly identified as a musical performer. Kirk Douglas had sung on the big screen previously in 20,000 Leagues Under The Sea and Man Without A Star, but he had better material there. Donald Pleasance is his usual slimy self as the man from London's underworld who discovers Douglas's dual nature.

The women in the story no matter which version also emphasize the dual nature. Susan Hampshire is the daughter of Michael Redgrave who Douglas courts as Jekyll. But it's Susan George as the music hall performer who Hyde wants to make his love slave.

I wish Kirk Douglas had done a straight dramatic version, it would have been better received.

This TV production did not have songs cut from Oliver, The score was to be an original by Oliver's composer Lionel Bart. Uncredited composers were brought in to "doctor" Bart's awful score. Certainly that horrid graveyard number with Jekyll playing a gravestone shaped like a piano has to be the worst moment in the film. On the other hand some of it is so unintentionally funny you end up enjoying it anyway. Kirk Douglas' performance is pretty good, his singing isn't. Still compared to the David Hasselhoff video of the Broadway musical this could be called a masterpiece. Maybe Jekyll and Hyde shouldn't be musicalized, or at least should be given to more talented creators.

One of my sci-fi/horror/fantasy reviews written 50 years ago: Directed by David Winters; Executive Producers: Winters and Burt Rosen, taped telefilm for Bryna Productions, broadcast by NBC. Screenplay by Sherman Yellen; Photography by Dick Bush; Edited by Stuart Baird and Bob Best; Music and Book by Lionel Bart, Mel Mandel and Norman Sacks; Choreography by Eleanor Fazan. Starring: Kirk Douglas, Susan George, Susan Hampshire, Stanley Holloway, Donald Pleasence, Michael Redgrave and Judi Bowker.

Surprisingly successful and entertaining taped musicalization of the Stevenson perennial, with Bart's musical numbers often self-consciously recalling his "Oliver!" hit. Douglas is good with a Fredric March-style swept-up upper lip, but receives brilliant support, especially immensely sexy and evocative young Susan George, whose extreme youth is played off against a 13-year-old street moppet. Dick Bush as lighting cameraman creates classic compositions, overcoming Winters' textbook direction.