Post by petrolino on Jul 29, 2017 20:33:48 GMT
The Strange Case Of Dr Jekyll & Mr Hyde
John Barrymore (born February 15, 1882 in Philadelphia, Pennsylvania, USA - died May 29, 1942)
'Betty Boop M.D.'
Fredric March (born August 31, 1897 in Racine, Wisconsin, USA - died April 14, 1975)
Spencer Tracy (born April 5, 1900 in Milwaukee, Wisconsin, USA - died June 10, 1967)
Veronica Lake & Fredric March in 'I Married A Witch' (1942) :
Marian Nixon & Spencer Tracy in 'A Face In The Sky' (1933) :
Spencer Tracy Vs Fredric March ~ Inherit The Wind
Martine Beswick in 'Dr Jekyll & Sister Hyde' (1971) :
Paolo Villaggio in 'Dr Jekyll And The Kind Lady' (1979) :
David Hemmings in 'Dr Jekyll & Mr Hyde' (1980) :
Udo Kier in 'The Strange Case Of Dr Jekyll & Miss Osbourne' (1981) :
'Dr. Jekyll & Mr. Hyde' - The Damned
"The literature surrounding the study of the horror film genre is well established. The 1980s witnessed a remarkable spate of consideration of horror from the psychoanalytic point of view, with feminist critics there from the start. Out of the French (in particular) feminist philosophies of the 1960s and 70s came crucial links between Freudian dramas involving mothers, fathers, daughters and sons and the representation of the abject. Of course, considerable academic attention has also been paid to the gothic novel and the horror tale (many horror movies are the book-to-film translations of these novels, such as Frankenstein, Dracula, etc). Yet there remains an unappreciated source of the principles of modern horror: early modern scientific representations of the body. An incredible example of these can be found in the 18th-century museum of the natural and physical sciences, La Specola, in Florence, Italy. This extensive collection of life-size and very life-like wax models in various states of dissection can be understood as the earliest "cinematic" representations of the body as liminal subject between fear and rationality—key components of the horror genre .… I want to turn to a much less well-known contributor to the critical literature on horror, Martin Tropp and his work in Images of Fear (1990). Tropp's approach does not take the psychoanalytic route but the social, particularly a form of historical-cultural study. Because he engages with the origins of the horror story in Gothic romance, he concentrates on novels rather than film. He compares the three main horror tales of the 19th century—Frankenstein, Dracula and The Strange Case of Dr Jekyll and Mr Hyde—with significant socio-cultural events in the late 1800s and early 1900s: the industrial revolution and mechanisation, the liberation of women and the working class, urbanisation, and the first World War. Tropp's is an innovative and convincing demonstration of how, "These materials… connect individual lives with the group experience of culture… Horror in fiction moved from a safe remoteness to a frightening immediacy, from subjective to objective reality." He points to the 19th-century factory-castles sprouting up throughout Europe, home to both great mechanical beasts built on social promise and the horrors of child labour and other forms of class exploitation. The image of Frankenstein's monster was used in social demonstrations to symbolise the body politic gone horribly wrong while Tropp displays the links between the Dr Jekyll story and the Jack the Ripper murders as evidence of growing anxieties over class boundaries (both Dr Jekyll and Jack are thought to be men of a cultured class who secretly sport wild and savage behaviour, especially towards lower-class women). Finally, the eroticism in the story of Dracula is characterised as the bringing of women "to a frightening new power."
- Annette Burfoot, Kinoeye
“In his still influential if somewhat damaging account of classical Hollywood cinema, Andrew Sarris relegates Rouben Mamoulian to the category of directors whose body of work and artistic contribution to American cinema offers “less than meets the eye.” The section of his book devoted to this category is dominated by what he perceives as inadequate or showy stylists, and within it Sarris dismisses the “technical acrobatics” of Mamoulian’s films and relegates him to the status of an “innovator who runs out of innovations.” It is true that Mamoulian can be regarded as both an aesthetic and stylistic magpie who seldom made two films in the one genre and as a director overly fixated on the technical possibilities of cinema. And yet, for a director who was brought to Hollywood to deal with the aesthetic crisis of the introduction of sound, Mamoulian proved himself to be a peculiarly ‘cinematic’ director, exploiting many of his scenarios for the pure visual and sound ideas/situations they suggested. Mamoulian also takes a similar approach to genre, examining each – western, musical, swashbuckler, romance, horror, historical drama – for their capacity to allow particular and appropriate technical innovations, flourishes and preoccupations (say, the subjective point of view shot in the horror film Dr. Jekyll and Mr. Hyde or the crane shot in the outdoor musical western High, Wide and Handsome, 1937). Nevertheless, if any genre seems closest to Mamoulian’s heart it is the musical – perhaps, the most cinematic and theatrical of classical American genres. Music and dance are integral to the rhythm and meaning of his work (even Dr. Jekyll and Mr. Hyde contains several ‘musical’ moments which have pertinent things to say about both class and the role of music as an index of culture and as a container of raw emotion). In retrospect, the two most satisfying films of Mamoulian’s career – Dr. Jekyll and Mr. Hyde and Love Me Tonight (1932) – were made back to back at Paramount, and exploit the dynamic possibilities of sound, camera movement and montage. Looking back on all of his films of the early 1930s it is still possible to be surprised by the sheer audacity of specific techniques, individual images, and the often idiosyncratic uses to which Mamoulian puts such common devices as dissolves and subjective point of view shots. Nevertheless, Mamoulian’s well-documented experiments in early sound (Applause, 1929 and City Streets, 1931), location filming (High, Wide and Handsome) and colour (Becky Sharp, 1935) tend to obscure this more holistic approach to technical innovations and their possible meanings which is found throughout his cinema (just listen to the playful sound experiments in films like Silk Stockings [1957] and Love Me Tonight, experiments totally in keeping with the key ideas explored in the films).”
- Adrian Danks, Senses Of Cinema
- Annette Burfoot, Kinoeye
“In his still influential if somewhat damaging account of classical Hollywood cinema, Andrew Sarris relegates Rouben Mamoulian to the category of directors whose body of work and artistic contribution to American cinema offers “less than meets the eye.” The section of his book devoted to this category is dominated by what he perceives as inadequate or showy stylists, and within it Sarris dismisses the “technical acrobatics” of Mamoulian’s films and relegates him to the status of an “innovator who runs out of innovations.” It is true that Mamoulian can be regarded as both an aesthetic and stylistic magpie who seldom made two films in the one genre and as a director overly fixated on the technical possibilities of cinema. And yet, for a director who was brought to Hollywood to deal with the aesthetic crisis of the introduction of sound, Mamoulian proved himself to be a peculiarly ‘cinematic’ director, exploiting many of his scenarios for the pure visual and sound ideas/situations they suggested. Mamoulian also takes a similar approach to genre, examining each – western, musical, swashbuckler, romance, horror, historical drama – for their capacity to allow particular and appropriate technical innovations, flourishes and preoccupations (say, the subjective point of view shot in the horror film Dr. Jekyll and Mr. Hyde or the crane shot in the outdoor musical western High, Wide and Handsome, 1937). Nevertheless, if any genre seems closest to Mamoulian’s heart it is the musical – perhaps, the most cinematic and theatrical of classical American genres. Music and dance are integral to the rhythm and meaning of his work (even Dr. Jekyll and Mr. Hyde contains several ‘musical’ moments which have pertinent things to say about both class and the role of music as an index of culture and as a container of raw emotion). In retrospect, the two most satisfying films of Mamoulian’s career – Dr. Jekyll and Mr. Hyde and Love Me Tonight (1932) – were made back to back at Paramount, and exploit the dynamic possibilities of sound, camera movement and montage. Looking back on all of his films of the early 1930s it is still possible to be surprised by the sheer audacity of specific techniques, individual images, and the often idiosyncratic uses to which Mamoulian puts such common devices as dissolves and subjective point of view shots. Nevertheless, Mamoulian’s well-documented experiments in early sound (Applause, 1929 and City Streets, 1931), location filming (High, Wide and Handsome) and colour (Becky Sharp, 1935) tend to obscure this more holistic approach to technical innovations and their possible meanings which is found throughout his cinema (just listen to the playful sound experiments in films like Silk Stockings [1957] and Love Me Tonight, experiments totally in keeping with the key ideas explored in the films).”
- Adrian Danks, Senses Of Cinema
'Betty Boop M.D.'
“Only one actor has achieved the distinction of winning two of Hollywood’s most coveted honor, the Oscar (* Best Actor 1931/32 & 1946), and two of Broadway’s most coveted honor, the Tony (* Best Actor in 1947 & 1957). And that actor, Fredric March, is from Racine. Yet one has to look pretty hard in his hometown to find acknowledgement of an actor who had a career in movies and Broadway that last more than a half century. All to be found relatively easily is a mention on a time line inside the Racine Heritage Museum, which in fairness did host an extended exhibit on the actor in 1996. “And that’s surprising because Racine likes to acknowledge its history ordinarily,” said local film historian James Neibaur. Other nearby cities acknowledge their entertainment giants. Waukegan, Ill., has a street, statue and school dedicated to legendary TV and radio comic Jack Benny. The city also has a park dedicated to science fiction author Ray Bradbury. And noted Milwaukee historian John Gurda points out that Waukesha “lionizes” guitar virtuoso Les Paul with a highway dedicated to its native son and an extensive exhibit on Paul is in place at the Waukesha County Museum. In fact, Paul’s face is the first thing you see when you call up the museum’s website. While no official memorial exists in Kenosha, there is a marker placed in the front yard of the house where iconic director and actor Orson Welles was born. (Apparently there once was a plaque for March at the home on College Avenue, where he grew up, said March biographer Deborah Peterson Bjelajac). Kenosha also is gearing up to celebrate the centennial this year of Welles’ birth, even though Welles left the city as a child and did not always speak fondly of Kenosha. “Orson Welles hated Kenosha. He used to refer to it as a vast wasteland,” Neibaur said. “Frederic March always liked Racine. He always spoke very highly about having grown up here. He thought Racine was perfectly cool. So I don’t understand why we never really acknowledge or saluted the fact that we have one of the leading actors of all time from the golden age of Hollywood having been born here.” In fairness, neither Gurda nor Mame McCully, executive director of the Milwaukee County Historical Society, could think of any physical markers or memorials in Milwaukee for two of its major entertainers, like Liberace or Spencer Tracy, who was far more a cinematic giant than March, his co-star in the 1960 film “Inherit The Wind,” which is based on the Scopes monkey trial and also features March’s wife, Florence Eldridge. Milwaukee does have the “bronze Fonz,” a statue dedicated to a fictional character from the 1970 TV show “Happy Days,” Gurda and McCully note.”
- Pete Wicklund, The Journal Times
“That's Milwaukee's very own Pat O'brien playing Notre Dame's legendary football coach (and my Grandfather's cousin), Knute Rockne, in Knute Rockne All American. In the 1800's, a large number of the settlers in my hometown, the Deerfield/Christiana area of Dane County, were from Voss, Norway. Rockne was born in Voss, but his family settled in Chicago. In the eyes of a few Deerfield Vossings (people from Voss, all Lutherans), he commited his soul to eternal hell when he became a full fledged Roman Catholic while at Notre Dame. He certainly was the first great college football coach. That he is credited as being the father of the forward pass is complete crap. The father of the forward pass is Sturgeon Bay native Eddie Cochems, and the first forward pass was thrown in a game played at Carrol College in Waukesha. Pat O'Brien was born and raised in Milwaukee. He served as an altar boy at Gesu Church while growing up near 13th & Clybourn streets and attended Marquette Academy with fellow actor Spencer Tracy. He later attended Marquette University. A prolific actor during Hollywood's golden age, he is best remembered for playing Rockne in the film that gave Ronald Reagan his nickname, "The Gipper." In a little known political backlash movement that occured during during the McCarthy era (so named for class of '35 Marquette Law alumnus,Joe McCarthy), O'Brien was quietly blacklisted in Hollywood for being an outspoken conservative. Unable to find enough work, his old friend, Spencer Tracy, stuck his neck out for him and got him back on the "A" list.”
- Flas Putnik, ‘The World’s Handcuff King & Prison Breaker’
"Marian Nixon was born on October 20, 1904, in Superior, Wisconsin. Her career started in 1923 when she played Agnes Evans in Cupid's Fireman (1923). She was nineteen. Marian always gave a good account for herself when she appeared in films and was much in demand throughout the 1920s. Marian was one of those fortunate actresses who made the successful transition to the "talkie" era. Her final film was as Treasure McGuire in Tango (1936) in 1936. When she retired, Marian had been in 73 productions."
- Denny Jackson, 'Hollywood's Golden Era'
"The man who brought film acting into the modern era is shown in his role as Dr. Jekyll and Mr. Hyde from the 1941 MGM film of the same name. Fellow Wisconsinite Frederick March won an Oscar when he played the role in 1932. Tracy, a nine time Oscar nominee, is regarded as one of the finest actors in motion picture history. A 1999 American Film Institute survey placed Tracy among the Top Ten Greatest Male Stars of All Time. He had a solid Irish Catholic upbringing in Milwaukee, and although his father was Irish Catholic, his mother was a convert to a relatively new religion, Christian Science. The very first Christian Science church building was built in Oconto, Wisconsin in 1875. Tracy's school years in Wisconsin read like a who's who of our state's finer institutes of learning: St. John's Cathedral School (Cathedral Square on Jackson St.), Wauwatosa East High School, Marquette Academy, Milwaukee West Division High School (Milwaukee High School of the Arts), Northwestern Military and Naval Academy in Lake Geneva and finally, Harrison Ford's sort of alma matter, Ripon College."
- Flas Putnik, Wisconsinology
“The grand opening of the Fred MacMurray Museum will be held this weekend at Heritage Village Mall. The 100th anniversary of MacMurray's birth is this year. MacMurray was from Beaver Dam. However, he found the spotlight in Hollywood where he appeared in more than 100 movies and highly successful television series. Roger Noll, who runs the museum, said it will be open on Saturday and Sunday from 1 to 5 p.m. Charles Tranberg, the author of "Fred MacMurray, a Biography," will be at the museum for a book signing. The museum will also be showing the "My Three Sons" Beaver Dam episode and a movie which talks about Beaver Dam "Pardon my Past." "Steve Douglas was from Beaver Dam," Noll said. In the "My Three Sons" episode, MacMurray's character Steve Douglas mentions that he lived in Beaver Dam as a boy and was a member of the Beaver Dam baseball team. It wasn't hard for MacMurray to get his hometown in the show, Noll said. MacMurray had 50 percent interest in "My Three Sons." Noll said he believes that he just asked the writers of "Pardon My Past" (1945) to include the city of Beaver Dam. In the movie, MacMurray and William Demarest are traveling to Beaver Dam from New York to purchase minks at a mink farm."
- Terri Pederson, The Daily Citizen
“Dominic Felix Ameche was born in Kenosha, Wis., on May 31, 1908, the second of eight children of Felix and Barbara Hertle Ameche. His father, who grew up outside Rome, Anglicized the spelling of the family name, Amici, when he came to the United States and became a saloon manager. A younger son, Jim, later became a radio actor and announcer. Don Ameche attended Columbia Academy, a Roman Catholic boy's school, and Columbia (now Loras) College, both in Dubuque, Iowa. His first stage role, at the age of 11, was the Virgin Mary; he played it with a black eye resulting from a basketball game. He studied law at Marquette and Georgetown Universities and at the University of Wisconsin, but dropped out to join a stock company in Madison, Wisconsin. He appeared as a butler on Broadway in 1929, toured briefly in vaudeville with Texas Guinan and started a radio career in Chicago in 1930. He soon became a leading radio actor, starring successively in "The First Nighter," "Grand Hotel" and "The Chase & Sanborn Hour" (the last with Edgar Bergen and Charlie McCarthy). Later, on radio and television, he made hilarious appearances with Frances Langford as the Bickersons, an irrepressibly contentious couple. His radio fame prompted 20th Century-Fox to offer him dual roles as the sons of a Job-like character (Jean Hersholt) in a 1936 film, "Sins of Man." He was an immediate hit and won long-term contracts. He went on to star opposite Claudette Colbert in the classic comedy "Midnight" (she played a penniless American in Paris who is befriended by Mr. Ameche, a taxi driver). Reviewers considered his best movie performance the rakish hero in a satirical fantasy, "Heaven Can Wait," directed by Ernst Lubitsch in 1943. Forty years later, Mr. Ameche hailed Lubitsch as "a genius," adding, "I'd never worked with anyone who came near him."
- Peter Flint, The New York Times
- Pete Wicklund, The Journal Times
“That's Milwaukee's very own Pat O'brien playing Notre Dame's legendary football coach (and my Grandfather's cousin), Knute Rockne, in Knute Rockne All American. In the 1800's, a large number of the settlers in my hometown, the Deerfield/Christiana area of Dane County, were from Voss, Norway. Rockne was born in Voss, but his family settled in Chicago. In the eyes of a few Deerfield Vossings (people from Voss, all Lutherans), he commited his soul to eternal hell when he became a full fledged Roman Catholic while at Notre Dame. He certainly was the first great college football coach. That he is credited as being the father of the forward pass is complete crap. The father of the forward pass is Sturgeon Bay native Eddie Cochems, and the first forward pass was thrown in a game played at Carrol College in Waukesha. Pat O'Brien was born and raised in Milwaukee. He served as an altar boy at Gesu Church while growing up near 13th & Clybourn streets and attended Marquette Academy with fellow actor Spencer Tracy. He later attended Marquette University. A prolific actor during Hollywood's golden age, he is best remembered for playing Rockne in the film that gave Ronald Reagan his nickname, "The Gipper." In a little known political backlash movement that occured during during the McCarthy era (so named for class of '35 Marquette Law alumnus,Joe McCarthy), O'Brien was quietly blacklisted in Hollywood for being an outspoken conservative. Unable to find enough work, his old friend, Spencer Tracy, stuck his neck out for him and got him back on the "A" list.”
- Flas Putnik, ‘The World’s Handcuff King & Prison Breaker’
"Marian Nixon was born on October 20, 1904, in Superior, Wisconsin. Her career started in 1923 when she played Agnes Evans in Cupid's Fireman (1923). She was nineteen. Marian always gave a good account for herself when she appeared in films and was much in demand throughout the 1920s. Marian was one of those fortunate actresses who made the successful transition to the "talkie" era. Her final film was as Treasure McGuire in Tango (1936) in 1936. When she retired, Marian had been in 73 productions."
- Denny Jackson, 'Hollywood's Golden Era'
"The man who brought film acting into the modern era is shown in his role as Dr. Jekyll and Mr. Hyde from the 1941 MGM film of the same name. Fellow Wisconsinite Frederick March won an Oscar when he played the role in 1932. Tracy, a nine time Oscar nominee, is regarded as one of the finest actors in motion picture history. A 1999 American Film Institute survey placed Tracy among the Top Ten Greatest Male Stars of All Time. He had a solid Irish Catholic upbringing in Milwaukee, and although his father was Irish Catholic, his mother was a convert to a relatively new religion, Christian Science. The very first Christian Science church building was built in Oconto, Wisconsin in 1875. Tracy's school years in Wisconsin read like a who's who of our state's finer institutes of learning: St. John's Cathedral School (Cathedral Square on Jackson St.), Wauwatosa East High School, Marquette Academy, Milwaukee West Division High School (Milwaukee High School of the Arts), Northwestern Military and Naval Academy in Lake Geneva and finally, Harrison Ford's sort of alma matter, Ripon College."
- Flas Putnik, Wisconsinology
“The grand opening of the Fred MacMurray Museum will be held this weekend at Heritage Village Mall. The 100th anniversary of MacMurray's birth is this year. MacMurray was from Beaver Dam. However, he found the spotlight in Hollywood where he appeared in more than 100 movies and highly successful television series. Roger Noll, who runs the museum, said it will be open on Saturday and Sunday from 1 to 5 p.m. Charles Tranberg, the author of "Fred MacMurray, a Biography," will be at the museum for a book signing. The museum will also be showing the "My Three Sons" Beaver Dam episode and a movie which talks about Beaver Dam "Pardon my Past." "Steve Douglas was from Beaver Dam," Noll said. In the "My Three Sons" episode, MacMurray's character Steve Douglas mentions that he lived in Beaver Dam as a boy and was a member of the Beaver Dam baseball team. It wasn't hard for MacMurray to get his hometown in the show, Noll said. MacMurray had 50 percent interest in "My Three Sons." Noll said he believes that he just asked the writers of "Pardon My Past" (1945) to include the city of Beaver Dam. In the movie, MacMurray and William Demarest are traveling to Beaver Dam from New York to purchase minks at a mink farm."
- Terri Pederson, The Daily Citizen
“Dominic Felix Ameche was born in Kenosha, Wis., on May 31, 1908, the second of eight children of Felix and Barbara Hertle Ameche. His father, who grew up outside Rome, Anglicized the spelling of the family name, Amici, when he came to the United States and became a saloon manager. A younger son, Jim, later became a radio actor and announcer. Don Ameche attended Columbia Academy, a Roman Catholic boy's school, and Columbia (now Loras) College, both in Dubuque, Iowa. His first stage role, at the age of 11, was the Virgin Mary; he played it with a black eye resulting from a basketball game. He studied law at Marquette and Georgetown Universities and at the University of Wisconsin, but dropped out to join a stock company in Madison, Wisconsin. He appeared as a butler on Broadway in 1929, toured briefly in vaudeville with Texas Guinan and started a radio career in Chicago in 1930. He soon became a leading radio actor, starring successively in "The First Nighter," "Grand Hotel" and "The Chase & Sanborn Hour" (the last with Edgar Bergen and Charlie McCarthy). Later, on radio and television, he made hilarious appearances with Frances Langford as the Bickersons, an irrepressibly contentious couple. His radio fame prompted 20th Century-Fox to offer him dual roles as the sons of a Job-like character (Jean Hersholt) in a 1936 film, "Sins of Man." He was an immediate hit and won long-term contracts. He went on to star opposite Claudette Colbert in the classic comedy "Midnight" (she played a penniless American in Paris who is befriended by Mr. Ameche, a taxi driver). Reviewers considered his best movie performance the rakish hero in a satirical fantasy, "Heaven Can Wait," directed by Ernst Lubitsch in 1943. Forty years later, Mr. Ameche hailed Lubitsch as "a genius," adding, "I'd never worked with anyone who came near him."
- Peter Flint, The New York Times
Spencer Tracy (born April 5, 1900 in Milwaukee, Wisconsin, USA - died June 10, 1967)
Veronica Lake & Fredric March in 'I Married A Witch' (1942) :
Marian Nixon & Spencer Tracy in 'A Face In The Sky' (1933) :
Spencer Tracy Vs Fredric March ~ Inherit The Wind
“This has been a season for melancholy comparisons between greater and lesser degrees of garbage. Last week I discovered that "Amityville II: The Possession" was just marginally better than "The Amityville Horror" (although both were abominations). This week, the news is not any better: "Jekyll & Hyde... Together Again" is not quite as good as "Young Doctors in Love" (although both fall out of bed with a dull thud). They're both hospital comedies. They both begin with a botched operation by an egotistical surgeon. They both have inflatable-women jokes. (This time, a patient's breasts are balloons; last time, she thought she was pregnant.) They both have sexy nurses in low-cut surgical gowns, rich patients who are shockingly treated and heroes who surround themselves with chaos. "Jekyll & Hyde" has other predecessors, of course. The credits say the movie was "inspired by the Robert Louis Stevenson novel," which is a little like saying "Fantasy Island" was inspired by Robinson Crusoe. The press releases have the chutzpah to actually print the following sentence: "Mark Blankfield (of ABC's 'Fridays' fame) follows movie greats John Barrymore, Fredric March and Spencer Tracy in assuming the title roles." But the real inspiration for "Jekyll & Hyde," I think, comes from the Cheech and Chong drug-caper comedies, in which nice guys turn into manic zombies and terrorize the neighborhood. "Jekyll" is about a young scientist's search for a drug that will bring perfect happiness. He tries formula after formula to no avail, until he falls asleep before he can test a new white powder. He inhales a drinking straw, turns his head, and vacuums the powder into his nose. Zowie! He's transformed into a disco king.”
- Roger Ebert, The Chicago Sun-Times
“Among the many screen adaptations of Robert Louis Stevenson's novella "Strange Case of Dr Jekyll and Mr Hyde" is a seven-minute Tom and Jerry film made by Hanna-Barbera in 1947. Here, a saucer of milk spiked with moth balls and bug powder is enough to transform an ordinary, decent soul - the mouse - into a monster. After a few sips, Jerry swells into supermouse, terrorising Tom, who normally holds the upper paw. At the end of "Dr Jekyll and Mr Mouse", Tom tries lapping up the milk - only to be reduced to the size of a fly. The pair exit with Jerry in pursuit, wielding a swatter. The same storyline drives another cartoon of the 1940s, "Mighty Mouse Meets Jekyll and Hyde Cat", though this time it is the cat who mixes a cocktail in the doctor's laboratory, changing from cute puss into a beast with fangs and fiendish claws. There is a Daffy Duck Jekyll and Hyde, and Bugs Bunny also makes use of it. Back in the human zone, there have been Abbott and Costello and Jerry Lewis versions of Stevenson's novella. In 1925, Stan Laurel starred in Dr Pyckle and Mr Pryde, which competed with When Quackel Did Hyde of 1920. There are various pornographic adaptations, including Dr Sexual and Mr Hyde. Five separate editions of the book were issued in France in 1947, not long after the end of a different horror story. Between 1950 and 1951, Japanese publishers offered readers seven translations to choose from, including one in graphic-novel form. “Dr Jekyll and Mr Hyde" belongs to everyone who has ever referred to themselves in the third person, or cursed their own "split personality", or praised their "better nature". The poet Hugo Williams has compressed the essence into a single line - "God give me strength to lead a double life" - a plea to be in two places at once, not necessarily legitimately, without the inconvenience of a guilty conscience. Stevenson's respectable physician Henry Jekyll appears to have had a similar desire, though his appeal was not to the deity but the pharmaceutical cabinet, with disastrous results.”
- James Campbell, The Guardian
- Roger Ebert, The Chicago Sun-Times
“Among the many screen adaptations of Robert Louis Stevenson's novella "Strange Case of Dr Jekyll and Mr Hyde" is a seven-minute Tom and Jerry film made by Hanna-Barbera in 1947. Here, a saucer of milk spiked with moth balls and bug powder is enough to transform an ordinary, decent soul - the mouse - into a monster. After a few sips, Jerry swells into supermouse, terrorising Tom, who normally holds the upper paw. At the end of "Dr Jekyll and Mr Mouse", Tom tries lapping up the milk - only to be reduced to the size of a fly. The pair exit with Jerry in pursuit, wielding a swatter. The same storyline drives another cartoon of the 1940s, "Mighty Mouse Meets Jekyll and Hyde Cat", though this time it is the cat who mixes a cocktail in the doctor's laboratory, changing from cute puss into a beast with fangs and fiendish claws. There is a Daffy Duck Jekyll and Hyde, and Bugs Bunny also makes use of it. Back in the human zone, there have been Abbott and Costello and Jerry Lewis versions of Stevenson's novella. In 1925, Stan Laurel starred in Dr Pyckle and Mr Pryde, which competed with When Quackel Did Hyde of 1920. There are various pornographic adaptations, including Dr Sexual and Mr Hyde. Five separate editions of the book were issued in France in 1947, not long after the end of a different horror story. Between 1950 and 1951, Japanese publishers offered readers seven translations to choose from, including one in graphic-novel form. “Dr Jekyll and Mr Hyde" belongs to everyone who has ever referred to themselves in the third person, or cursed their own "split personality", or praised their "better nature". The poet Hugo Williams has compressed the essence into a single line - "God give me strength to lead a double life" - a plea to be in two places at once, not necessarily legitimately, without the inconvenience of a guilty conscience. Stevenson's respectable physician Henry Jekyll appears to have had a similar desire, though his appeal was not to the deity but the pharmaceutical cabinet, with disastrous results.”
- James Campbell, The Guardian
Martine Beswick in 'Dr Jekyll & Sister Hyde' (1971) :
Paolo Villaggio in 'Dr Jekyll And The Kind Lady' (1979) :
David Hemmings in 'Dr Jekyll & Mr Hyde' (1980) :
Udo Kier in 'The Strange Case Of Dr Jekyll & Miss Osbourne' (1981) :
'Dr. Jekyll & Mr. Hyde' - The Damned
.
/ 
