IMDb > Experiment in Evil (1959) (TV)

Experiment in Evil (1959) (TV) More at IMDbPro »Le testament du Docteur Cordelier (original title)


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Release Date:
30 June 1961 (Portugal) See more »
Genre:
Plot:
Mr. Joly, doctor Cordelier's lawyer, is amazed to discover that his client and friend leaves his possessions to a stranger, Opale, a sadistic criminal. He needs this man to prove that people's behavior can be adjusted at will... | Add synopsis »
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The Testament Of Dr. Cordelier (TV) (Jean Renoir, 1959) ***1/2 See more (9 total) »

Cast

  (in credits order) (verified as complete)

Jean-Louis Barrault ... Dr. Cordelier / Opale
Teddy Bilis ... Maître Joly
Sylviane Margollé ... Jeune fille
Jean Bertho ... Premier passant
Jacques Ciron ... Deuxième passant
Annick Allières ... Voisine
Dominique Dangon ... Mère de la jeune fille
Jean Topart ... Désiré
Michel Vitold ... Docteur Séverin
Micheline Gary ... Marguerite
Jacques Danoville ... Commissaire Lardaut (as Jacques Dannoville)
André Certes ... Inspecteur Salbris
Jean-Pierre Granval ... Le patron de l'hôtel
Céline Sales ... La première fille
Jacqueline Morane ... Alberte
Ghislaine Dumont ... Suzy
Madeleine Marion ... Juliette
Didier d'Yd ... Georges
Primerose Perret ... Mary
Raymond Jourdan ... L'infirme
Jaque Catelain ... L'Ambassadeur
Régine Blaess ... Femme de l'Ambassadeur
Gaston Modot ... Blaise
Jacqueline Frot ... Camille
Monique Theffo ... Annie
Claude Bourlon ... Lise (as Claudie Bourlon)
Raymone ... Mme des Essarts
Françoise Boyer ... Françoise
rest of cast listed alphabetically:
Catherine Rouvel ... (scenes deleted)
Bernard Fresson ... Extra (uncredited)

Jean Renoir ... Himself (uncredited)
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Directed by
Jean Renoir 
 
Writing credits
(in alphabetical order)
Jean Renoir 
Robert Louis Stevenson  novel "The Strange Case of Dr. Jekyll and Mr. Hyde" (uncredited)

Original Music by
Joseph Kosma 
 
Cinematography by
Georges Leclerc 
 
Film Editing by
Renée Lichtig 
 
Set Decoration by
Marcel-Louis Dieulot 
 
Costume Design by
Monique Dunan  (as Monique Dunand)
 
Production Management
Albert Hollebeke .... production manager
 
Second Unit Director or Assistant Director
Maurice Beuchey .... first assistant director
Monique Dunan .... assistant director (as Monique Dunand)
 
Art Department
Yves-André Hubert .... technician
Jean Serge .... art assistant
 
Sound Department
Joseph Richard .... sound engineer
 
Camera and Electrical Department
Bernard Girod .... framing camera operator
Jean Graglia .... framing camera operator
Pierre Guéguen .... framing camera operator (as Pierre Guegen)
Pierre Lebon .... framing camera operator
Gilbert Perrot-Minnot .... framing camera operator
Arthur Raimondo .... framing camera operator (as Arthur Raymondo)
Gilbert Sandoz .... framing camera operator
 
Other crew
Andrée Gauthey .... script
Marinette Pasquet .... script
 
Crew believed to be complete


Production CompaniesDistributorsSpecial Effects
  • Lax (special effects)
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Additional Details

Also Known As:
"Le testament du Docteur Cordelier" - France (original title)
"The Doctor's Horrible Experiment" - USA
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Runtime:
95 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Certification:

Did You Know?

Trivia:
This TV program later had a theatrical release.See more »
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10 out of 12 people found the following review useful.
The Testament Of Dr. Cordelier (TV) (Jean Renoir, 1959) ***1/2, 9 May 2007
Author: MARIO GAUCI (marrod@melita.com) from Naxxar, Malta

Frankly, I have lost count of how many cinematic adaptations of Robert Louis Stevenson's classic story, "Dr. Jekyll and Mr. Hyde", I have watched but, since Jean Renoir is one of my favorite film-makers, this rarely-seen film had always been one of my holy grails. Before now, it had been available only as an unsubtitled French DVD - which I had even considered buying at one point but now I am sure glad I waited!

Curiously enough for such a master of the film medium, Renoir's version was shot for TV - it even starts off with the bubbly writer/director entering the studio to 'present' the show - although it did get eventually released to French theaters in late 1961. Having said that, it is quite appropriate given the subject matter that Renoir himself seemed to be in an experimental state of mind: shooting with three to eight cameras and cutting only at the end of each sequence, his intention was to free his actors from the filmic constraints of relentless cutting and repeated takes.

No one benefited more from this deliberately 'flat' approach to the material than his inspired choice for lead actor, Jean Louis Barrault, the celebrated mime best-known for his role in Marcel Carne''s CHILDREN OF PARADISE (1945): his is a truly remarkable performance. We see Cordelier (the Jekyll figure) during three stages of his life: the time when, as a young general practitioner, he first hit upon the notion that good and evil could be separated; the distinguished research scientist, gracefully aged but something of a recluse and, of course, Opale - wearing no make-up except for a set of false teeth and a shaggy wig, Renoir and Barrault's bizarre concept of Hyde as a prancing ("light as air" as he himself puts it) thug with overgrown hair whose mayhem perhaps feels more like the thrill-seeking antics of a spoiled brat (at times recalling Renoir's earlier creation, Boudu, as a matter of fact) rather than the handiwork of someone who is supposedly evil incarnate...although, he does kick the living hell out of his victims as they lie helplessly on the ground!

Two other notable secondary characters are the lawyer (Teddy Bilis) who is baffled by Cordelier's singular will but who sticks by his friend till the bitter end, and Michel Vitold's irascible psychiatrist, a rival of Cordelier's and whose heart condition Opale sadistically exploits; interestingly, Vitold would later play the villainous banker Favraux in Georges Franju's marvelous remake of JUDEX (1963). Renoir regular Gaston Modot is also featured as Barrault's elderly handyman: he had been the lead in Luis Bunuel's L'AGE D'OR (1930) and the scene here in which Opale kicks a crutch from under a limping man recalls the one in the notorious Surrealist film where Modot's anarchic protagonist pushes a blind man into a busy street. Another veteran of Renoir's cinema is composer Joseph Kosma whose wonderful score emerges as another major asset. The fact that its plot essentially centers around the mysterious goings-on in the household of an eminent physician reminded me of the contemporaneous EYES WITHOUT A FACE (1959) even if, as I said earlier, there is little room here for poetic images so prevalent in Franju's film. Incidentally, just as I never refer to that film by its silly American moniker - THE HORROR CHAMBER OF DR. FAUSTUS - I loathe Lionsgate's decision to attach the unflattering title THE DOCTOR'S HORRIBLE EXPERIMENT to the Renoir picture!

Despite the action being relocated to Paris and set in contemporary times, this is actually one of the most faithful renditions of Stevenson's work: it is virtually the only film version which lends its central theme of good vs. evil a spiritual resonance (the doctor even commits suicide, while still in his Opale persona, by taking a lethal dose of his own potion) where most other adaptations had just opted to concentrate on the element of repressed sexuality inherent in Stevenson's original. In fact, there is no significant female character here at all. Renoir does give us hints in that direction, however, as we do see Cordelier (rather than Opale) corrupted - time and again, we are told on his tape-recorded confession - into ravishing his patients while they are under the anaesthetic. The metamorphosis is clearly a painful one and Cordelier assumes a foetal position during the first transformation indicating a physical rebirth; interestingly, given that the film is not structured in a linear fashion, we meet Opale, roaming the streets of Paris at night, before we are formally introduced to his benign alter-ego, Dr. Cordelier.

In conclusion, THE TESTAMENT OF DR. CORDELIER not only emerges as easily one of the best filmed versions of the novel - edged only by the Rouben Mamoulian/Fredric March 1931 milestone and just ahead of Walerian Borowczyk's delirious DOCTEUR JEKYLL ET LES FEMMES (1981), which it predates in several aspects - but as yet another great Renoir work. Hardly the "risible...probably the only disaster in the Renoir canon" dismissal one reads about in David Quinlan's book on film directors! On a more personal note, I am disappointed by the sheer lack of online reviews of this important 3-Disc Set from Lionsgate and, hopefully, I will not only get to the rest of the Renoir films therein in due time but may also take this opportunity to watch Giorgio Albertazzi's similarly modernized 4-hour adaptation made for Italian TV, JEKYLL (1969), which I recently acquired.

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