Not to discount the work it takes to translate prose novels to the screen, but in the decades since the advent of motion pictures there have been so many adaptations of the tale of Jekyll and Hyde that I have to imagine it would be hard to screw up another. Let there be no doubt that David Wickes' 1990 rendition for television, with the esteemed Michael Caine, is unquestionably well written and made, and the only real question on hand is the minutiae of choices made along the way. In this iteration we get a little more body horror than in some others; there's accentuation of the war of words between Jekyll, with his new ideas of science, and the old guard, with personal matters further fanning the flames. To the latter point, this version also rather latches onto the word on the street, and the impressions of additional figures on the course of events. The reveal to supporting characters of the dual identity of Jekyll and Hyde comes unexpectedly early - preceding the third act - allowing the last portion to zero in on the heartfelt drama of Jekyll's plight, and of the lingering interpersonal issues, before the inevitable dark turn and build to the climax.
How much one favors this 'Jekyll and Hyde' over other adaptions comes down entirely to personal preference. I don't think this one is a total must-see, nor necessarily the premier example, but it's completely solid and compelling - even as it arguably deemphasizes the genre flavors to a slight degree, moving them to smaller corners, and plays up the drama of the scenario. All along the way the contributions of cast and crew alike are reliably outstanding. The filming locations, sets, costume design, hair, and makeup could not be sharper or lovelier in bringing the period setting to bear; like John Cameron's score, Wickes' direction works always to maximize the effect of every beat, whether the mood be one of violence, desperation, and horror, or of love, heartbreak, and tragedy. The cast is a treasure, with Caine of course leading the way in a relatively infrequent role in a genre piece; as one would expect he very adeptly embodies both the charm and candor of Jekyll, and the uncontrolled rage of Hyde. Among others, though, I'm also earnestly impressed with Cheryl Ladd, who even in a supporting part threatens to upstage Caine as love interest Sara.
I don't agree with every choice made, for example the especially exaggerated makeup of Mrs. Hackett or Lucy. (Although, far be it from me to judge; maybe the historians in the audience will say their appearance is accurate for the period.) Yet by and large this film is fantastic, ably evoking real feelings in response to Jekyll's growing anguish. There is ultimately only one concrete criticism that I would offer, and it is is that the very last shot in the length is a gauche, ill-considered step too far. In contrast to the nuance with which Wickes commanded the production all along, the last seconds are so tawdrily heavy-handed that they diminish to some slight degree the esteem in which I had otherwise been holding the viewing experience. It would have been a flaw that was very easy to adjust, without truly changing the import of the ending. Still, setting this unfortunate bit aside, far more than not I'm very pleased with just how enjoyable and satisfying this TV movie is, and whether one is specifically a fan of those involved or just looking for something good to watch there's not really any going wrong here. Even compared to other adaptations of Robert Louis Stevenson this won't necessarily meet with equal favor for all, but I had a good time watching, and I think most other folks would, too. Don't go out of your way for it, but if you have the chance to check out 1990's 'Jekyll and Hyde' then it's well worthwhile.
