Le Docteur Jekyll et M. Hyde

Through countless adaptations, including movies, the gist of Robert Lewis Stevenson's "The Strange Case of Dr. Jekyll and Mr. Hyde" is familiar to those who have never even touched the novella. The doppelgänger, or doubles, theme of its battle between the good and evil within oneself are shared heritage, even though the Victorian age it was set in, the suspicions of invention and science and some of the psychological notions have since passed. This 1920 filmed version, the first highly regarded one, presents the story as it has been most commonly handed down: the narrative is simplified, removing the original mystery, and it takes the perspective of Dr. Jekyll, reducing the role of Mr. Utterson.

There are some interesting parts to this adaptation, especially when comparing it to the later 1931 and 1941 versions. The competing beliefs between Jekyll and Dr. Lanyon are well rendered, as are those between Jekyll and Sir George, who is, apparently, based in Oscar Wilde's "The Picture of Dorian Gray". Additionally, the rationale behind Jekyll's experiment is altered more illogical by concerning it with one's soul, instead of the hypocrisy of the two-faced upper classmen who present themselves respectably for the public but also want to visit the prostitutes at night.

Anyhow, for better or worse, John Barrymore is restrained (considering the role and the film era). There's an odd giant spider nightmare in this one, too. The best aspect of this version, I think, is its horror atmosphere, with the studio sets of the fogy, lamp-lit London slums and even the detailed interior designs add something--production values that make this early entry stand out. Barrymore contributes to this, especially with the makeup to create his deformed Hyde that could rival Lon Chaney's creations.

To see a major point of difference between the three major Hollywood adaptations, as well as an indication of Hollywood's evolution and how this 1920 version stands out, compare Barrymore's horrific and grotesque Hyde with that of Fredric March and Spencer Tracy: notice how Hyde becomes easier on the eyes with each subsequent decade.

DR. JEKYLL AND MR. HYDE (Paramount, 1920), directed by John S. Robertson, ranks the best known silent screen adaptations from the famous 1886 story by Robert Louis Stevenson and the 1897 stage play starring Richard Mansfield. Featuring the then unlikely John Barrymore, a matinée idol better known as "The Great Profile," this early horror film features the young actor to good advantage in portraying two entirely different characters in one motion picture. Those familiar with the Stevenson story, especially with its latter remakes during the sound era, whether starring Fredric March in 1931 (for which he won an Academy Award as best actor) or Spencer Tracy in 1941 (a very good film but often dismissed due to its miscasting) the story itself has its alterations.

Set in 19th century England, Henry Jekyll (John Barrymore), "an idealist and philanthropist, by profession a doctor of medicine," spending his time not only conducting experiments in his laboratory attached to his home, but treatinghis patients at a free clinic for the poor at his own expense. He's engaged to Millicent Carewe (Martha Mansfield), but their relationship appears to be mainly platonic. Arriving late at a dinner gathering at the Carewe home, Sir George Carewe, (Brandon Hurst), Millicent's father and Jekyll's mentor, soon becomes Jekyll's evil influence when he suggests the possibilities of man living by his instincts, yet having another side to his nature. Carewe later accompanies Jekyll to a London music hall where they are not only surrounded by a class of patrons beneath their status, but watch a flirtatious young dancer named Gina (Nita Naldi) perform. "For the first time in his life, Jekyll had awakened to the sense of his baser nature." Spending days and nights in his lab with his experiments, Jekyll, after drinking down his invented formula, soon transforms into his evil self. Becoming the uncontrollable person he names Edward Hyde, Jekyll's evil self begins a relationship with the sultry Gina, eventually making her life miserable. Hyde goes on a murderous rampage, taking control over Jekyll's immortal soul. Jekyll's experiment gets the better of him when he keeps changing into the evil Hyde against his will, returning to his gentler self through an antidote, becoming a recluse and spending more time away from Millicent. When Jekyll's antidote supply runs dry, he tries to fight the urge of evil. After murdering a child of the streets in the poor district of town, and later Sir George who witnessed the evil change in his future son-in-law, Jekyll realizes that he's unable to undo his evil deeds, and suffers more as he tries to prevent himself from making Millicent his next victim.

Supporting Barrymore in the cast are Charles Lane as Doctor Richard Lanyon; Cecil Clovelly as Edward Enfield; Louis Wolheim as the music hall proprietor; and George Stevens as Poole, Jekyll's butler.

Produced shortly before what future star Lon Chaney would have achieved in a role such as this, Barrymore's performs his most memorable moments during his transformation scenes. Every transformation captured on film shows the viewer a more hideous manifestation of Jekyll's other self. Quite theatrical to say the least, but what's amazing is Barrymore's constant jerking of his body with his hair flopping about before the closeup of that hideous facial expression, which must have been quite intense for 1920 audiences. It's been reported that Barrymore changed into the evil Mr. Hyde without the use of makeup, unlike Chaney, who would have done his transformation similar to Fredric March's 1931 sound version, looking more like a hideous animal than a grotesque human creature. For Spencer Tracy's 1941 performance, like Barrymore, he's still in human form but his facial gestures appear inhuman. More added touches of evil include Jekyll's somewhat pointed head as well as close up of Jekyll's hand becoming a withered claw. Something worth noting is one where Jekyll sleeps in his bed and imagines a ghostly giant spider crawling upon him. Because of Barrymore's "great profile" image and matinée idol reputation, the camera takes full advantage in his numerous profiled closeups, yet this was the film that firmly establish Barrymore's movie career.

DR. JEKYLL AND MR. HYDE became one of the final thirteen movies aired on public television's THE SILENT YEARS (1971) as hosted by Orson Welles. Accompanied by an organ score by Gaylord Carter, the film runs at length to about 62 minutes. In later years, the silent version to DR. JEKYLL AND MR. HYDE was distributed on video cassette, with the print shown on THE SILENT YEARS released through Blackhawk Video in the 1980s. At present, the length of the movie varies. It could be as long as 75 minutes or more, depending on the projection speed. Shorter prints could be the possibility of a deleted sequence or two taken from reissue copies. For the Blackhawk edition, a sudden cut is noticeable as Millicent (Martha Mansfield) is seen sitting sadly alone, longing for her fiancé, followed by an immediate cut showing Millicent, surrounded by some people, running happily up the stairs with a letter clasped in her hand. Besides JEKYLL AND HYDE's availability on video, it's also been recently distributed on DVD.

DR. JEKYLL AND MR. HYDE consisted of several earlier American-made versions (1912, 1913, and another in 1920 to compete with the Barrymore film), but for whatever copy is available for viewing, this 1920 production featuring Barrymore is the only easy access for viewing. Out of circulation on the TV markets since the 1970s, it finally resurfaced on Turner Classic Movies October 24, 2004, as part of its annual Halloween fright feast. The print with the Gaylord Carter organ score has circulated on TCM until its March 6, 2011 presentation consisting a new orchestral score composed by Al Kryszak that's one I would not recommend after listening better scores in the past. (***)

Early silent version of the classic horror tale holds up incredibly well more than eight decades later. John Barrymore is the well-to-do doctor who concocts a serum that allows his dark side to find a home in his alter ego. But how long can this double identity survive before one of the personalities absorbs the other?

DR. JEKYLL AND MR. HYDE works as well as it does thanks in no small part to Barrymore, the early screen legend. His amazing performance transcends the lack of sound, scratchy picture and obvious limitations. He is the definitive Dr. Jekyll and a suitably creepy Mr. Hyde. Barrymore's co-stars more than hold their own, proving that acting is an inherited talent, not something that is necessarily developed through years of schooling. Brandon Hurst in particular stands out as the upperclassman Sir George Carew.

The film also benefits from its strong script and dialog, though much of the credit there must go to Robert Louis Stevenson, who authored the book on which it is based. What could have easily been a mediocre man-turned-monster outing is instead smart, thought-provoking and imaginative. Director John S. Robertson is to be highly praised.

I went into DR. JEKYLL AND MR. HYDE prepared to cut it heaps of slack given its 1920 production date. But not once did I have to award it brownie points for trying. This is a screen gem from which the Hollywood of today could learn some valuable lessons.

I find it interesting that this classic & 'nearly' definitive motion picture of Robert L. Stevenson's short novella, STRANGE CASE OF DR JEKYLL & MR HYDE was made in Long Island New York financed by Paramount/Famous Players-Lasky. Thus it's not 'really' a Hollywood movie in the literal sense. The financial cord of Paramount, as with all of the big studios, was also situated in New York City. However the legend of this film has come down through the decades intact withstanding it's comparison to later versions of which it undoubtedly influences.

How personal this film must have been to John Barrymore. It seems to have been more than an assignment for him. He brought plants from his apartment to use in the film, he transported sets & costumes from one of his hit plays to be filmed in a flashback sequence, he was miming a story that had been done by the great stage actor Richard Mansfield whom was acquainted with his late father Maurice Barrymore. Interesting enough Barrymore would film another great Mansfield stage success four years later, BEAU BRUMMEL, which was Barrymore's first truly Hollywood made film. One wonders whether the choice to cast Martha Mansfield as Jekyll's love interest had anything to do with her name being Mansfield. There has never come up any evidence that she was related to Richard Mansfield but her name on movie theater marquees for the film must have looked familiar to older movie goers at the time who remembered the great theater actor who died in 1907 and never lived to film even a primitive version of DJ&MH himself. It must have been a good selling point. So John Barrymore as well as the Drew-Barrymore theatrical clan must have known Richard Mansfield on an intimate level at one time or another. I've always counted this film & JB's performance as an homage to Richard Mansfield and the acting profession in general. Perhaps, though it is not on record, a young JB might have seen Mansfield on stage doing Dr Jekyll & Mr Hyde.

The film's directorial credit is officially given to John S Robertson and writing credits to Clara Beranger(Wm DeMille's wife) but certainly J.Barrymore added touches here and there to spark up the production such as the above mentioned items he brought or transported to the film set. And also JB's winning portrayal at the time on the Broadway stage as Richard the 3rd performed at night while he filmed DJ&MH during the day. The make-ups for Richard the 3rd & Mr Hyde are strikingly similar when viewing photographs of JB as the two characters. Hyde, while favoring Richard, is truly the more severe of the two roles, and needed to be to put the character over on film. Another plus this film has is that it is made closer to the 1886 timeline of Stevenson's Victorian novella than the later feature length productions of 1931, 1941 and on. The sets where Hyde cavorts look nothing but like an inner London Victorian slum. Also some of the sets where Dr Jekyll has dinner with his elitist friends are accurately Victorian.

Director Robertson along with cameraman Roy Overbaugh keep the production flowing along especially when Hyde is on the screen. The first transformation is a classic, and pretty well known by historians & silent movie buffs. For those who haven't seen the movie I wont disclose no spoilers about the first transformation. Later transformations are accomplished by cameraman Overbaugh with stop-motion-photography and some very smooth double exposures such as in the spider-on-bed sequence. And also some good acting from JB.

Lastly if the original music score could be resurrected and performed with the film today, then a close approximation as to what 1920 audiences saw & heard could be experienced by today's audiences. Most home video copies put accompanied music or awfully scored music that is wrong for the film. Some video releases, wisely don't put any music score on the video which oddly forces your attention to the movie.

I have not seen this film for quite some time though I can always conjure up the face of John Barrymore as Mr.Hyde. Bent double with hideous pointed features and spider-like hands he is still truly frightening after all these years. When will producers understand that effects are no match for a talented actor with only himself the clothes on his back and make-up. Barrymore distorts himself is the same manner as Lon Chaney performed and conjures up the dark side of Jekyll's personality. A chilling film that seeps into the mind and is still the benchmark film version for Stevenson's classic tale.