Baron Frankenstein is once again working with illegal medical experiments. Together with a young doctor, Karl and his fiancée Anna, they kidnap the mentally sick Dr. Brandt, to perform the ... See full summary »
A dead and frozen Baron Frankenstein is re-animated by his colleague Dr. Hertz proving to him that the soul does not leave the body on the instant of death. His lab assistant, young Hans, ... See full summary »
In Serbia, Baron Frankenstein lives with the Baroness and their two children. He dreams of a super-race, returning Serbia to its grand connections to ancient Greece. In his laboratory, ... See full summary »
Dalila Di Lazzaro
Based on the story by Robert Louis Stevenson, Dr. Henry Jekyll believes that there are two distinct sides to men - a good and an evil side. He believes that by separating the two man can become liberated. He succeeds in his experiments with chemicals to accomplish this and transforms into Hyde to commit horrendous crimes. When he discontinues use of the drug it is already too late... Written by
Mark J. Popp <email@example.com>
When Dr. Jekyll comes to Muriel Carew's house for the final time, she is playing "Aufschwung" ("Soaring") from Fantasiestuecke, Op. 12, by Robert Schumann. This is a particularly apposite choice of music for the film, because Schumann had created two alter egos reflecting two different aspects of his personality, the impetuous and passionate "Florestan" and the introverted "Eusebius." Much of his music criticism was written using one or the other as a pseudonym, and the two frequently appear in his music in one guise or another. See more »
Miriam Hopkins's character is listed as Ivy Pierson in the end credits. However in the movie, it is listed as Ivy Pearson in a newspaper article. See more »
An exceptional cast and intelligent direction seals the quality of the first 'talkie' version of Robert Louis Stevenson's tale. Often hailed as the best of the many screen adaptations of the story, director Robert Moumalin exploits the symbolic potential of the tale as well as boldly tapping into popular Freudian trends concerning sexual repression. The result is not a by-the-numbers rendition but an effective interpretation with quirks and dimensions of its own. Yet the film belongs to Frederic March who scooped an Oscar for his sensational dual role. Although as Jekyll he unfortunately has to trade flowery romantic dialogue with Rose Hobart, there can be no disputing the menace of his Hyde, with his simian-like appearance, top hat, cloak and cane, who turns cockney hooker Miriam Hopkins' life into a nightmare. It's a breathtaking transformation both physically (thanks to stellar make-up and special effects) and artistically and is undoubtedly the centrepiece of this excellent vintage classic.
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