Hammer Horror, the legendary purveyor of British frights, is back from the cinematic crypt, and its revival comes with a bold and contemporary reimagining of Robert Louis Stevenson’s timeless tale, Strange Case of Dr. Jekyll and Mr. Hyde. In Doctor Jekyll, theatre producer John Gore, the new custodian of Hammer Film Productions, unveils a gender-flipped adaptation that plunges into the dark psyche of a pharmaceutical industry leader harboring a sinister secret. This new film, directed by Joe Stephenson and starring the versatile Eddie Izzard, promises to inject fresh blood into the veins of a well-worn horror narrative.
The studio itself has a rich history with the Jekyll and Hyde story, having previously delivered interpretations like Terence Fisher’s The Two Faces of Dr. Jekyll (1960) and Roy Ward Baker’s Dr. Jekyll and Sister Hyde (1971). The latter, in particular, tapped into the zeitgeist of gender-swapped horror, exploiting the unsettling duality of a seemingly innocent woman concealing a monstrous inner self. Echoes of this trope resonated in mainstream horror successes, from Hitchcock’s Psycho to De Palma’s Dressed to Kill, each playing on the deep-seated fear of a male character’s monstrous alter ego manifesting as female.
Doctor Jekyll takes this exploration a step further, radically subverting expectations by reimagining both Dr. Jekyll and Mr. Hyde as women, Nina Jekyll and Rachel Hyde, both portrayed with captivating dynamism by Eddie Izzard. Izzard, a prominent voice in discussions about gender identity, brings a unique layer to the role, especially considering the film’s release in a Britain grappling with transphobia. While the film doesn’t explicitly address Nina Jekyll’s gender transition, subtle cues, such as a childhood flashback featuring a young girl, subtly challenge audience preconceptions and add intrigue to her character’s backstory. Scandal and mystery shroud Nina’s past, adding depth to her present-day struggles.
Fresh from her acclaimed one-woman show of Great Expectations in London’s West End, Izzard delivers a tour-de-force performance, showcasing her remarkable range. The stark contrast between the compassionate and refined Nina Jekyll and the gleefully malevolent Rachel Hyde is the film’s central strength. On a modest budget, the horror in Doctor Jekyll is primarily driven by Izzard’s compelling portrayal of duality. Scott Chambers as Rob, Nina’s carer, provides a solid anchor, effectively reacting to Izzard’s Jekyll/Hyde transformations. Lindsay Duncan adds to the film’s eerie atmosphere as the sinister housekeeper, evoking a classic Mrs. Danvers vibe, while Blair Mowat’s dramatic orchestral score heightens the suspense.
This rendition of Doctor Jekyll deliberately embraces the hallmarks of classic British B-movie cinema. The film’s low-budget origins are apparent, with visible set limitations and a touch of theatrical acting, yet this aesthetic charm is integral to the Hammer Horror experience. It’s a genre that oscillates between moments of laughter and genuine jump scares, creating a unique and entertaining brand of horror. Furthermore, Doctor Jekyll cleverly plays with and subverts the long-standing anxieties surrounding gender within horror cinema. Izzard’s dual performance both leans into and pushes back against contemporary “trans scare” narratives, adding a layer of social commentary to the classic tale. With Doctor Jekyll, Hammer Horror doesn’t just revive a classic story; it boldly announces its return, ready to thrill and provoke audiences once again.
Anticipation: Hammer’s resurgence has been long-awaited. Could Eddie Izzard’s Doctor Jekyll be the key to its resurrection?
Enjoyment: A captivating and playful film from beginning to end, with Eddie Izzard delivering a performance worthy of Hammer Horror legends like Christopher Lee and Peter Cushing.
In Retrospect: While perhaps more akin to the comedic horror of Carry On Screaming than profound terror, Doctor Jekyll‘s innovative exploration of gender within a familiar narrative breathes invigorating new life into the Dr. Jekyll story.
