IMDb रेटिंग
6.1/10
1.1 हज़ार
आपकी रेटिंग
अपनी भाषा में प्लॉट जोड़ेंA serial killer is murdering women in the Whitechapel district of London. An American policeman is brought in to help Scotland Yard solve the case.A serial killer is murdering women in the Whitechapel district of London. An American policeman is brought in to help Scotland Yard solve the case.A serial killer is murdering women in the Whitechapel district of London. An American policeman is brought in to help Scotland Yard solve the case.
- निर्देशक
- लेखक
- स्टार
फ़ीचर्ड समीक्षाएं
Every once in a while one finds a film that is mostly mediocre but has one redeeming feature.
The bright spot of Jack the Ripper is it's beautiful lightning. Some B&W films are just gray when to me the beauty of it is in the strong contrast between light and shadow.
All in all this is a very easy film to like. It is beautifully naive in it's portrayal of it's sex murder topic yet at the same time it succeeds in making a powerful point about lynching mob attitude.
The characters are rather predictable and bland with one exception: the young American policeman visiting London. With his accent and idealism displayed under a greasy fifties Buddy Holly hairstyle (remember that this is a period piece set in the 19th century)he brings a nice cowboy twist to the legend of Jack the Ripper.
The bright spot of Jack the Ripper is it's beautiful lightning. Some B&W films are just gray when to me the beauty of it is in the strong contrast between light and shadow.
All in all this is a very easy film to like. It is beautifully naive in it's portrayal of it's sex murder topic yet at the same time it succeeds in making a powerful point about lynching mob attitude.
The characters are rather predictable and bland with one exception: the young American policeman visiting London. With his accent and idealism displayed under a greasy fifties Buddy Holly hairstyle (remember that this is a period piece set in the 19th century)he brings a nice cowboy twist to the legend of Jack the Ripper.
There appear to be two versions of this film so beware. The colourised ending with the blood seeping out seems to have been done especially as a gimmick for the USA market.
In the UK version there is no colorised ending (it's all in black and white) and it also looks as if the ending has suffered from censor cuts.
Hopefully, one day we will see a DVD release with both endings included. All screenings in the UK (on TV) have been of the UK version with the black and white ending.
Those interested in this film may also care to check out A Study In Terror in which Sherlock Holmes tackles Jack the Ripper in a hammer forror-ish style.
In the UK version there is no colorised ending (it's all in black and white) and it also looks as if the ending has suffered from censor cuts.
Hopefully, one day we will see a DVD release with both endings included. All screenings in the UK (on TV) have been of the UK version with the black and white ending.
Those interested in this film may also care to check out A Study In Terror in which Sherlock Holmes tackles Jack the Ripper in a hammer forror-ish style.
Maybe it was the black and white film,maybe the ending,don't know,I just liked this version the best so far.For a 50's flick it was bloody,but not as much as later versions.The story plot takes a twist toward the ending giving a different view of the killer and a ending leaving no questions.
The titular serial-killer has captivated film-makers and audiences ever since the Silent days: in fact, this was already at least the sixth time – after the 1926, 1932 and 1944 versions of THE LODGER, PANDORA'S BOX from 1929 and 1953's MAN IN THE ATTIC – his vicious exploits were brought to the screen (and countless more would follow)! Other notorious Victorian figures to which the cinema would return time and again are grave-robbers Burke and Hare and their eminent accomplice Dr. Robert Knox: indeed, THE FLESH AND THE FIENDS (which would also see the involvement of Baker and Berman) appeared shortly after this one
and, interestingly enough, both would be released in "Continental Versions" – a brief trend that incorporated entirely gratuitous and often jarringly-inserted nudity intended for more liberal markets, such as France (the copy I acquired of the title under review actually reverts to that language for its three 'alternate' scenes)!
Anyway, the script here (by the late Hammer stalwart Jimmy Sangster) attempts to give a face and a motive to the reputedly methodical perpetrator of these crimes – making him a respectable surgeon deranged by the obsession to seek out and chastise the ex-prostitute apparently responsible for his similarly-gifted but eventually wayward son's suicide; to be fair to it, some of the earlier and later 'Ripper' outings did likewise and their conclusions proved just as simplistic! Nevertheless, Sangster managed to subtly touch upon a number of issues along the way such as female emancipation (and the way it was looked at with suspicion by the male gender), illicit 'after-hours' cabaret activities (and how defenseless young women were practically blackmailed into acquiescing) and also the immediate socio-economic effect of the killings (resulting in deserted streets and a people constantly on edge and distrustful of strangers and authority who find mob violence an efficient outlet for their frustration, with a hunchback and mute morgue attendant – initially a clichéd device – the most convenient scapegoat).
More pragmatically, the finger of guilt seems to be pointing in the direction of John Le Mesurier, a sterling presence in many a classic British comedy but here playing it atypically – albeit effectively – stern (especially given his character's declared aversion to the Police, seedy environments and foreigners, notably Americans: with respect to the latter, let us not forget that the events of 1776 were little more than a hundred years removed from this era and the natural animosity between the two sides had not abated completely).
Incidentally, here we have fictitious support to the manhunt from the United States, with the young cop not only involved in the obligatory romance (as it happens, Le Mesurier's ward and also unwitting sponsor of the Ripper's intended target) but actually solving the case!; however, so as to uphold the established truth of its being an affair still shrouded in mystery, Sangster concocts an improbably bloody demise for the villain.
Despite the obvious low-budget (not helped by the fuzziness of the print on display), the period reconstruction seems fairly authentic – even if such thoroughness, at this stage, did not extend to the murder sequences, which are dealt with too swiftly for them to give an inkling of the adopted clinical approach (that said, the film-makers could have easily worked their way around this hurdle by turning the camera away while keeping the brutal action going in the background!).
Anyway, the script here (by the late Hammer stalwart Jimmy Sangster) attempts to give a face and a motive to the reputedly methodical perpetrator of these crimes – making him a respectable surgeon deranged by the obsession to seek out and chastise the ex-prostitute apparently responsible for his similarly-gifted but eventually wayward son's suicide; to be fair to it, some of the earlier and later 'Ripper' outings did likewise and their conclusions proved just as simplistic! Nevertheless, Sangster managed to subtly touch upon a number of issues along the way such as female emancipation (and the way it was looked at with suspicion by the male gender), illicit 'after-hours' cabaret activities (and how defenseless young women were practically blackmailed into acquiescing) and also the immediate socio-economic effect of the killings (resulting in deserted streets and a people constantly on edge and distrustful of strangers and authority who find mob violence an efficient outlet for their frustration, with a hunchback and mute morgue attendant – initially a clichéd device – the most convenient scapegoat).
More pragmatically, the finger of guilt seems to be pointing in the direction of John Le Mesurier, a sterling presence in many a classic British comedy but here playing it atypically – albeit effectively – stern (especially given his character's declared aversion to the Police, seedy environments and foreigners, notably Americans: with respect to the latter, let us not forget that the events of 1776 were little more than a hundred years removed from this era and the natural animosity between the two sides had not abated completely).
Incidentally, here we have fictitious support to the manhunt from the United States, with the young cop not only involved in the obligatory romance (as it happens, Le Mesurier's ward and also unwitting sponsor of the Ripper's intended target) but actually solving the case!; however, so as to uphold the established truth of its being an affair still shrouded in mystery, Sangster concocts an improbably bloody demise for the villain.
Despite the obvious low-budget (not helped by the fuzziness of the print on display), the period reconstruction seems fairly authentic – even if such thoroughness, at this stage, did not extend to the murder sequences, which are dealt with too swiftly for them to give an inkling of the adopted clinical approach (that said, the film-makers could have easily worked their way around this hurdle by turning the camera away while keeping the brutal action going in the background!).
Jack the Ripper (1959)
** (out of 4)
Atmospheric and moody version of the infamous serial killer. This isn't quite as good as the version with Klaus Kinski but it remained entertaining throughout. The director does a great job building up the atmosphere of 1888 London but for some strange reason he never pushes the "mystery" surrounding the case. He throws a lot of suspects at us but for some reason he never tries to build up a mystery film as to who the killer is. There's a big twist at the end, which makes one think the film is going to do something with it but it never does. I'm not exactly sure what the filmmakers were going for but the movie still works.
** (out of 4)
Atmospheric and moody version of the infamous serial killer. This isn't quite as good as the version with Klaus Kinski but it remained entertaining throughout. The director does a great job building up the atmosphere of 1888 London but for some strange reason he never pushes the "mystery" surrounding the case. He throws a lot of suspects at us but for some reason he never tries to build up a mystery film as to who the killer is. There's a big twist at the end, which makes one think the film is going to do something with it but it never does. I'm not exactly sure what the filmmakers were going for but the movie still works.
क्या आपको पता है
- ट्रिवियाJoseph E. Levine held a luncheon for major distributors to kick off the campaign for his U.S. release of this film. For this event, he borrowed $1 million in cash which was brought into the room with a cadre of Brinks guards. The cash was to demonstrate to the exhibitors how much he was going to spend in the U.S. to promote the film.
- गूफ़Lead actor Lee Patterson sports a Pomaded Elvis Pompador hairstyle throughout the film - very stylish for 1959 (when this film was made) but hardly period accurate for 1888 London...
- भाव
Inspector O'Neill: Well, see for yourself. Look at this street. Before this ripper business started, you could hardly move along here. Stalls, barrel organs, people spilling out of the pubs, it was a happy place. Not particularly moral, but happy.
- इसके अलावा अन्य वर्जनThe British version is the Director's version of the movie. There was also a "continental version," which included nudity and more violent murder shots. According to the director's commentary on the Bluray, this was done for purely financial reasons, to get distribution in places that would otherwise be uninterested in it. The continental version ran 88 minutes, includes: a changing room scene with several girls having their breasts exposed; Maggie (Dorinda Stevens) and Hazel (Jane Taylor) join two gentlemen in a private room, then one of these pours champagne over Maggie's chest, and as he kisses the champagne off her chest, her dress is pulled down to expose a breast; Hazel is accosted by the Ripper in an alleyway, her breast is shown, and later there is a shot of her topless corpse; close-up shots of knives and victims faces, and items such as repeated knife thrusts vs. single thrusts, are added to the murder scenes.
- कनेक्शनFeatured in Aweful Movies with Deadly Earnest: Jack the Ripper (1968)
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
- How long is Jack the Ripper?Alexa द्वारा संचालित
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- भाषाएं
- इस रूप में भी जाना जाता है
- El destripador de Londres
- फ़िल्माने की जगहें
- Swan Street, Isleworth, Middlesex, इंग्लैंड, यूनाइटेड किंगडम(Detective Sam Lowry talks to Anne Ford who is looking for a cab)
- उत्पादन कंपनी
- IMDbPro पर और कंपनी क्रेडिट देखें
- चलने की अवधि1 घंटा 24 मिनट
- रंग
- पक्ष अनुपात
- 1.66 : 1
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