Dr. Jekyll and Mr. Hyde

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.

Kirk Douglas co-produced this videotaped NBC production through his Bryna Productions, and cast himself in the lead. It's rumored to feature castoff songs from Lionel Bart's OLIVER! If so, they've been shoehorned somewhat inappropriately into a truncated but serviceable version of the Stevenson tale.

The cast and performances are good-- particularly Susan George, Judi Bowker and Donald Pleasence (who displays an impressive singing voice).

Some of the songs are fine-- the one Michael Redgrave sings at the engagement party is beautiful-- but others are cringe-making. One may watch this show wincing in dread that another one will start.

Despite this, it's an interesting version-- certainly a curiosity-- and worth a look.

With the death of Kirk Douglas a couple days ago, I was in the mood to watch one of his films. However, I've seen most of his work and so after a bit of research I found something I haven't seen...nor knew that he ever made in the first place. It seems that back in 1973, he starred in a made for TV musical version of "Dr. Jekyll and Mr. Hyde"! While this sounded just dreadful, it did make me curious...and when I found it on YouTube I knew I just had to see it.

Before you decide to watch this one, there are a couple things you should know. Even for YouTube, the quality of the print is simply awful...so bad that a sane person probably wouldn't bother--which says a lot about me! Also, there are blank gaps in the film where the commercials used to be...so be sure to speed through them.

So is the film good? No. While the sets and costumes are lovely, the music really didn't work. The songs weren't very good (why a song all about bicycle?) but also it seemed strange having Douglas in the lead singing most of the songs as he really didn't have a great voice. Why not pick an actor with a strong voice, such as Gordon MacRae or Howard Keel? I also couldn't understand why they didn't stick closer to Robert Louis Stevenson's novel? The original motivation for the Doctor's work was to unlock the dark side of a human being....here he's a neurologist who is trying to cure insanity. Why the change? I also thought the makeup to make Jekyll become Hyde was cheap and silly--mostly just cotton stuffed in Douglas' mouth! It made me laugh when folks didn't recognize him...when he simply looked like Jekyll with mumps! I also laughed when Jekyll keeps talking to describe EVERYTHING he's thinking and doing...didn't this seem awkward to anyone when they did it?

Overall, this is a silly and misguided film project. Good for a laugh...and not much more.

The concept of musicalizing R. L. Stevenson' classic horror novella must have been as strange as making Jekyll the handsomer of the two personas in Hammer Films' disappointing 1960 version. Also, the fact that I have been waiting to watch this particular (and quite rare – despite a one-off Yuletide screening of it ages ago on local TV which I missed) adaptation for 30 years – ever since I read about it in Alan Frank's "Monsters And Vampires" book, I was prepared to be let down by it. However, Lionel Bart's unmemorable score notwithstanding, it offers not just a splendid cast well engaged with the material but enough 'new' additions to make the whole affair a delightful concoction (pun intended). Kirk Douglas' Dr. Jekyll is a Canadian immigrant in London who is seeking a cure for mental illness; Stanley Holloway is his loyal butler Poole; Susan Hampshire is Jekyll's long-suffering high society fiancée; Sir Michael Redgrave is her disapproving father; Donald Pleasence is a low-life showing Mr. Hyde the ropes in the night spots of Soho; Susan George and a young Judi Bowker are Hyde's protégées/victims. There are no heated "Good vs. Evil" discussions here (Jekyll's biggest faux-pas in the eyes of society here is arriving on a bicycle for tea!); he decides to drink his own formula after he is refused to try it out on the inmates of the local asylum and, unaccountably, keeps a vial of it ready for use in his laboratory; Hyde takes to visiting the Houses of Parliament and pelt MPs with fruit and vegetables!; the arrested Hyde wakes up in prison as the good doctor and is immediately sprung; Jekyll is haunted by multiple visions of Hyde in his laboratory when he decides to kill him off; George does not expire from the beatings of her 'protector' but loses her mind (after being taken on a midnight stroll to visit her own grave!); it is footman Pleasence himself who blows Jekyll's cover – at which point the doctor has the mother of all meltdowns in front of everybody and jumps at Hampshire's throat having transformed himself one last time into Hyde.