Robert Louis Stevenson's 1886 novella Strange Case of Dr. Jekyll and Mr. Hyde has provided inspiration for many a film-maker throughout the years, with various degrees of faithfulness shown to the source. Always eager to put their own Gothic spin on a popular tale, Hammer Films tackled the story in 1960, not only ensuring that debauchery levels were maximised, but changed a key aspect to the plot that makes the whole experience all the more delightfully wicked. Here, in Terence Fisher's film, Dr. Jekyll is dull and ugly, while Mr. Hyde is handsome and highly charismatic, as well as being an utter bastard.
Believing the human mind to consist of two personalities from opposite sides of the spectrum - good and evil - outcast Dr. Jekyll (Paul Massie) sets out to separate the two in order to help mankind embrace the good. Living almost in solitude, he neglects his wife Kitty (Dawn Addams), a promiscuous, spoilt woman currently embarking on an affair with her husband's best friend, Paul Allen (Christopher Lee). Jekyll drinks his newly created potion and Hyde emerges, introducing himself at a social gathering with swagger and charm (and getting into a fight with a young Oliver Reed). There he meets Paul and Kitty, who don't recognise him, and begins to toy with the two of them, all the while indulging on the many seductive pleasures of London.
Although it's difficult to believe that Jekyll's wife and best friend wouldn't recognise him without his ludicrous fake beard and mono- brow, The Two Faces of Dr. Jekyll is a enjoyable romp from start to finish. Massie is clearly having a ball in the dual role, and convinces as Hyde grows bored with money, gambling and women, and soon turns to darker alternatives, notably murder and manipulation. It doesn't pull it's punches either, portraying Hyde's journey into the further extremities of debauchery as intoxicating as Hyde clearly finds it, featuring the odd swear word and a scene of heavily implied rape. Special mention must also go to the recently departed Lee, who somehow finds a shred of sympathy for his cocky and pathetic rich boy character. One of Hammer's most effortlessly gratifying gems.
