In the Fifteenth Century, France is a defeated and ruined nation after the One Hundred Years War against England. The fourteen years old farm girl Joan of Arc claims to hear voices from ... See full summary »
Francis L. Sullivan
Henry Jekyll is a troubled man. His wife died of pneumonia. He wants his sister-in-law, but her father forbids any contact. And his experiments into the dual nature of man have yielded a ... See full summary »
Dead World War II bomber pilot, Maj. Pete Sandidge, becomes guardian angel to another pilot, Capt. Ted Randall, guiding Ted through battle and helping him to romance his old girlfriend, despite her excessive devotion to Sandidge's memory.
Years after her aunt was murdered in her home, a young woman moves back into the house with her new husband. However, he has a secret that he will do anything to protect, even if it means driving his wife insane.
Old friends Ward and Phillip both become smitten with Phillip's mother's attractive young secretary Stella. But Stella marries Phillip and stands by him as his behavior becomes more and ... See full summary »
Dr. Jekyll believes good and evil exist in everyone. Experiments reveal his evil side, named Hyde. Experience teaches him how evil Hyde can be: he kills Ivy who earlier expressed interest in Jekyll and Sir Charles, Jekyll's fiancée's father. Written by
Ed Stephan <email@example.com>
This is a thoughtful interpretation of the Stevenson story but is very rarely emotionally engaging. The theme seems to be sexual repression, with Hyde coming from Jekyll's repressed lust. As Hyde takes over we witness some extraordinary and very graphic Freudian imagery such as Bergman and Turner, naked, pulling a chariot containing Tracy and his whip, and Bergman being screwed out of a bottle by a corkscrew! Amazing. But the horror of the story is never realized and there is too much philosophical chat.
Tracy is terrific in the lead, but his make-up for Hyde is too subtle to be effective. The transformations require him to stand completely still which makes them a bit dull. The final transformation is quite an achievement however. Bergman could have been great but her attempt at a cockney accent seriously detracts from her fine emotional interpretation. Lana Turner is awful as Tracy's true love. But the rest of the cast is very strong - especially Donald Crisp.
The film also contains some fine Fleming touches, including his beautiful slow pans over magnificent sets and crowd scenes. The cinematography is excellent - make sure you don't watch the colorised version - and foggy Victorian London is recreated stunningly. This film never rises to the horror of the 1920 or the 1932 versions but still has much to offer.
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