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Movie Review - Dr. Jekyll and Sister Hyde (1971)
August 07, 2023
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Yesterday was downright autumnal, with gray skies and cold rain. It felt more like October than early August and I decided it was time to revisit a spooky movie. 

From the 1950’s through the 70’s, Hammer Films was the studio for gothic horror. Christopher Lee made an indelible mark as Count Dracula in many of their productions, often facing off against Peter Cushing. You may have never seen a Hammer Film, but many other actors went on to appear in things you know and love. Toward the end of Hammer’s reign the budgets shrank (even as the predominance of blood and nudity grew), but you’d hardly know it looking at the sets and costumes.

In a weird way, they feel similar to Bonanza reruns, swapping out the old west for jolly old England.

While I wish that Hammer hadn’t resorted to cheap tactics to draw attention away from the cheapness of their movies (though they did manage to cast Playboy models and Bond girls, so it's not all bad), I could argue that 1971’s Dr. Jekyll and Sister Hyde (currently on Peacock) is one of their best. The nudity here is mild and the blood, as was typical of time, looks like pasta sauce. It was third time Hammer drew from the well of Dr. Jekyll, and manages to expand on the idea by bringing in Jack the Ripper, and Burke and Hare.  

Then, of course, there’s the gender bending twist.

Ralph Bates plays Dr. Jekyll, a decent fellow who wants to find a universal cure for all the diseases of the world. Unfortunately, he realizes that life is too short to fix everything. But since women live longer than men, maybe he can tap into the elixir of life, giving him extra time. If not extending life for everyone.

What could go wrong? 

To get the, uh, materials he needs, Jekyll hires Burke and Hare to get him dead women (ie: kill prostitutes). Before long, he’s got an electric green Kool-Aid that he tests on himself. You can guess what happens. Bates turns into the crazy hot Martine Beswick and immediately unbuttons his/her shirt to feel him/herself up in front of the mirror. Several actresses were offered the role, but didn’t want to do the nudity, and even Beswick pumped the brakes.

She does bear a strong resemblance to Bates, when she’s not baring other things.

This creates an awkward love triangle as the brother and sister who live upstairs both get romantically interested in Dr. Jekyll and his “sister.” As Jekyll loses control of his transformations (transitions?) his sexuality also becomes more conflicted. At one point he caresses the brother’s face while still in his male body. As Sister Hyde he has no problem making out with his male colleague and clearly enjoys it.

In recent years this was a celebrated queer film. 

I don’t think a movie featuring a bi man going trans and becoming a cold-blooded killer would fly now.

But since Burke and Hare were put out of business and Jekyll feels justified in his academic pursuit, he has to keep on killing. Those bodies aren’t going pile up themselves. Besides, the uninhibited Hyde wants to hang around for as long as possible. As the law is closing in and Hyde finds herself unable to kill the young woman who is sweet on Jekyll, the doctor realizes he’s gone too far. But a strong sense of self-preservation creates stronger inner conflict.

Like any good monster movie, the townspeople eventually corner him/her in his lab.

Jekyll climbs out the the window and is hanging from the roof by his fingertips when he turns back into Hyde, and since women aren’t as strong as men, she falls to his/her death. The end. 

Is this B-grade horror movie worth your time? Well, I wouldn’t add it into my annual rotation. But it has some interesting ideas and speaks to some timeless truths. Monster movies remind us that science is a fickle god and meddling with the natural never creates a better world. This film is unapologetic about saying men and women are different, and does it in artistic and fun ways that can spark real conversation. Some real thought and skill went into this film, though it never loses track of its intent: to titillate and thrill.

If that’s what you’re looking for, I’ll recommend it.

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Girl-Power Isn't the Problem: Stop Treating Movies Like TV Pilots

Last weekend I was able to sneak off the theater for a screening of From the World of John Wick: Ballerina. Did I feel silly, telling the high school girl at the ticket counter, “One for Ballerina, and a small drink”? Well, not in the moment. 

I probably drank a liter of cherry vanilla Coke Zero, and that didn’t feel so great.

Plenty of box office analysts and Hollywood types are wracking their brains, trying to figure out why movies like Furiosa and Ballerina aren’t drawing huge crowds. Mad Max and John Wick are popular franchises, but apparently telling the stories of the women in those worlds isn’t working. Even if the movies are pretty good.

I’ve seen both, and they’re pretty good.

Some are arguing that no one will go near a movie that looks like it’s feminist girl-bossing. Others counter that movies like Alien and Kill Bill are female-led action films that were successful. Now, I’m not going to say that Ballerina is on par with those modern day classics. But I will say that, as a man watching the movie, it didn’t offend me. The movie never challenged me to confront any internalized misogyny. The small girl doesn’t take down John Wick in hand-to-hand combat.

Honestly, if you like franchise, whether you’re male or female, you should watch Ballerina.

In short, from a purely cinematic experience perspective, neither Furiosa nor Ballerina would be any better or worse with a male lead. Maybe that’s a hot take. But that’s mine, for whatever it’s worth. Well, okay, I wouldn’t watch a movie called Ballerina if it stared a dude. Nevertheless, I think you get my point. Petite women warriors aside, the plots and action are exactly as expected.

So what’s the deal?

Well, what no one seems to have noticed is that Ripley and The Bride weren’t replacing anyone. As we were watching their movies for the first time, we weren’t thinking about other characters for whom we already had a preference. Movies are more like TV than TV right now, and replacement characters have always been a hard sell, regardless of gender. We all remember Sam and Diane. Who still talks about Sam and Rebecca (even though Kirstie Alley won an Emmy and a Golden Globe for the part)? I had to look up her name. 

No, they aren’t technically replacing them. It’s a spin-off, set in the same world.

Spin-offs tend to succeed when the characters are already well established (eg: Frasier). Furiosa and Ballerina are more like backdoor pilots, where new characters are dropped in for a single episode to sell us on the idea of a new show. This technique is very hit and miss on TV, and I can’t think of a single example of this working in a movie franchise. Film and television are very different mediums, and should be treated as such.

Still, if it doesn’t work on TV, it’s probably not gonna work at the movies. Not where new characters and spin-offs are concerned. 

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Going Back to 1995

Maybe I’m just getting old, but it doesn’t feel like we had the thriving and distinct pop culture of past generations. Has there been a look or stye, or feeling, that defines this moment? Everything seems to have stagnated for the last twenty years. And it’s not as if I don’t pay attention. 

It’s making me nostalgic. 

Consequently, for the rest of the year, I’m prioritizing movies from 1995, the year I was twelve. At that time, my family didn’t really go to the theater, and when we did rent VHS tapes, more often than it is was older Disney movies or entirely forgettable Christian titles. Now that I’ve grown tired of trying to keep up with new releases, not there’s much worth watching anyway, it feels like a good time to catch up on those 30 year old movies that have become ingrained in what’s left of our pop culture.

So over on Criticless, I made a list.

Some of these are movies I’ve seen before, but not in a long time. Others will be first time watches for me. There’s really no rhyme or reason to what I put on my list. It’s just movies that either interest me, or are currently in my collection, sadly unwatched. As things become available on streaming, I may add to the list. And if I don’t get to everything before the end of the year, no big deal.

Hopefully, they aren’t going anywhere. 

I’ll be posting some reviews and analysis as I go, so be sure to follow me here. 

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Ironheart and Superman: A Failure to Launch

Yesterday two trailers were released for upcoming superhero projects. First, we had Marvel's Ironheart, which Disney has been sitting on for years at this point. Apparently it follows Riri Williams (Dominique Thorne), a young black woman at MIT who is (was?) intended to take over for Tony Stark as Ironwhathaveyou. If you haven't seen the trailer yet, take a look.

I stopped paying too much attention to the MCU a long time ago, but apparently Riri was introduced in Wakanda Forever, and her fans have been clamoring for a standalone show ever since (/sarcasm). Watching the trailer, I can't help but notice how many times we're told she's smart and capable. Any suggestion that she can't do something is shot down immediately. We're supposed to believe that The System is against is her because she's poor, I guess, and doesn't have Tony Stark's advantages.

Remember Tony Stark? Sure, he was rich. But he was also a self-absorbed man-child who found himself in a cave in Afghanistan who had to engineer his own escape with scrap parts. Tony Stark, who had to learn about self-sacrifice and the consequences of his actions. Robert Downey Jr. make us like the guy, with his easy charm, even though we wanted to see him grow up. There was room for a character arc. No offence to Dominique, but she doesn't have the charm, and her character clearly has nowhere to go.

A few hours later, Warner Bros./DC released the trailer for James Gunn's Superman, the latest reboot of the iconic superhero. We've been waiting for a good Superman for a long time. Something to reunite the fans, the casually interested, and possibly the entire country. And to be honest, I don't think this is gonna do it. Take a look.

Before I go any further, I want to spin my theory on the interview scene, which is a little different from what I'm hearing from most anyone else. Notice how David Corenswet pitches his voice really high when he says, "Sure!" At this point in the movie, I don't think Lois (Rachel Brasnahan) knows that Clark is Superman, and thinks he's just playacting. But when Clark drops his voice, he's showing his cards a little bit. Then, when he completely loses his cool, he's just acting how Lois thinks Superman would respond. In context (the scene is reportedly ten minutes long!), it might be interesting. Out of context, in a trailer, it's a stupid decision.

Throughout the entire trailer we see Superman smacked around, knocked out, screaming out in self-defense, and made fun of for having a dog. There are some super-heroics, to be sure, but they're mitigated by the overwhelming amount of thrashing he takes. Unlike Riri, I guess he's got some room for growth. But it doesn't inspire me to see the movie. Some are defending this approach, suggesting that someone with such a clear cut understanding of right and wrong would be frustrated and confused by our complex, political climate. And I agree. But his moral compass and grace towards an unfair world should have been set before leaving Smallville and going out into the world.

So on the one hand, we've got a flawless female character. And on the other, we've got an immature Superman. Neither character is attractive, warts and all. Neither character is relatable or inspiring in the ways the filmmakers intended, as presented. Maybe the show and movie will be good. But someone else will have to let me know. Because right now, I'm not inspired to see either one.

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