From Hell

An interesting, if not totally successful variation on the Jack The Ripper story, blighted by Hollywood yet again assuming that anyone in London says "cor blimey" a lot, and speaks in the same exaggerated "cock-er-ney" manner. This is a shame, as the film actually has a lot of good things going for it. Some genuinely chilling set pieces and a suitably grim visual style make for some scary moments. Sadly, particularly in the first half of the film, the Hughes Brothers (directing) seem to spend too much time trying to be visually clever when they should be putting more effort into getting on with the story. When they dispense with the visual gimmickry and the action is allowed to take off, the film is extremely gripping. On another level, the ending is particularly moving. A previous reviewer referred to the film's historical inaccuracies in depth, so I won't retread the same ground, but suffice to say that anyone familiar with the events will be distracted by these, although anyone new to the story wouldn't be affected. Performances are generally good, if not quite the principal performers' best work - in my book, the honours go to the ever reliable Ian Holm and Robbie Coltrane. Overall, this film is well worth a couple of hours of your time, but it could have been so much more...

A dark and meticulous tale, based around the murders of Jack the Ripper in Whitechapel, London. The films look is no more than what you would expect from a one based on Jack the Ripper. Dark shadows loom over the characters as the satanic nature of The Ripper is emphasised. It's such an intriguing story and character that every time I watch a film based on this story I come away slightly disappointed. This time was no exception. While the acting was good (minus some quite unconvincing cockney accents - Heather Graham and Johnny Depp, I'm talking to you) and the direction assured, the script seemed a little reserved. There was no great insight into any of the characters, and much of it played out like a simple murder mystery. But this didn't stop me from enjoying the 120 or so minutes.

Why did I enjoy this film, I hear you ask? For a start, the direction was superb - the streets of London looked grimy, while the `unfortunates' (i.e., prostitutes) wandered around in squalor awaiting their fate. This produced a wonderful atmosphere, creating murder scenes that were much more terrifying and shocking (and very gruesome). Johnny Depp's performance (as the detective Abberline), as always, was hugely enjoyable to watch. He played his character in a very subtle way - halfway between comic and serious. He portrays a desperate man, constantly resorting to drugs so he can pass through the day. Depp and the filmmakers see him as a version of Sherlock Holmes, constantly finding clues that other police officers have overlooked (cliched, yes, but somehow Depp provides a little bit of originality). Abberline even suggests that the killer must be a learned man! How could this be?! While dismissed by all the other characters in the film (for a learned man would never commit acts of such debauchery), we as an audience know better not to trust a detective like this - their preposterous ideas are usually right. Another actor to praise in this is the wonderful Ian Holm. He plays his character with a wry little smile, seemingly enjoying every line he says. His interactions with Depp are great to watch.

While the film provides little to ponder on once the credits have rolled, you can leave satisfied that you have seen a stylish and enjoyable film. The Hughes brothers seem to be a talented pair of directors.

For those that care I gave this film 7/10

I'm pretty much a fan of Johnny Depp, as I usually appreciate his performance regardless of my ultimate opinion of the movie itself. Sleepy Hollow was a masterful re-envisioning of the classic story of Ichabod Crane, featuring a nice blend of mystery & horror. From Hell seemed like a natural extension of this character archetype, with a loosely-based historical inspiration, adding weight to the horrific scenarios that it depicts. With that in mind, I decided to check it out.

There are many things that are done right in this movie, number one being the atmosphere. London is gray, rainy, & dark, and its desperate citizens reflect this foreboding setting well. The women whore themselves out for an extra cent, while the men retain control through intimidation & violence. Racial tensions, corrupt officials, and secret societies complicate the picture, and the actors in their elaborate costumes capture the unrest perfectly. As the film is a work of historical fiction, it takes liberties in the portrayal of certain events/facts, but only for the purpose of increasing the dramatic potential of the plot. In fact, these little deviations in historical accuracy felt very creative, and mostly fit in with the ambiguous nature of one the most infamous unsolved mysteries.

The faults, while noticeable, are not disqualifying. The characters are played well, despite being mostly unremarkable to begin with. Depp's Inspector Abberline is likable, though his behavior is inconsistent. As an opium addict, he seems content to waste away his life in an altered state, yet jumps into action without hesitation, and utterly dedicates himself to risk life and limb tracking down a vicious serial killer & sifting through the lies that keep him so elusive. This also serves to make his relationship with Heather Graham, as the female lead, seem slightly artificial. The visionary, opium-induced haze that enables him to keep pace with the killer was an interesting touch, but wasn't utilized to its full potential, in my opinion. Also, the killer's character is not developed enough, and so comes across as "cartoonishly" scary, lacking in realism.

Ultimately, this is a tense thriller that will captivate your attention, with a unique interpretation of the Jack the Ripper mythos.

"From Hell" is an interesting spin on the familiar Jack the Ripper tale, using the iconic cultural image of the cloaked man with the top hat as the source for a spin-off not of history, but of a graphic novel.

The lead performance by Johnny Depp as Inspector Abberline (who really existed in 1888 at the time of the murders and really was an authority on the case) is wonderful. Depp nails the cockney accent perfectly. Unfortunately, Heather Graham -- as the prostitute Mary Kelley -- is not as fortunate. Although her accent seems to improve throughout the film at various intervals, for most of "From Hell's" duration her British voice is quite stiff and the American twang is audible. The Hughes Brothers did not choose Graham for her acting abilities.

That said, the set design on this production is magnificent. 1880s London is brought to life and Whitechapel has never looked more realistic. The film is an odd hybrid of genres because it maintains the look and feel of a slasher film whilst presenting historical elements and painstaking recreations of actual murders. Robbie Coltrane, as one of the police officers involved in the case, has a lot of fun with his character and is fun to watch, and similarly as convincing as the scenery.

This is a very gritty and gory film -- more so than I ever expected. It's quite a strange beast with hallucinogenic visuals, horror elements and history thrown in for good measure, on top of some slightly modernized techniques. All in all this film kept me entertained because it was unique, and very different, and not particularly because it was "great." I didn't expect a whole lot, but I felt that the movie was directed as ably as it could (or should) have been and the performance by Johnny Depp was deserving of a better film. The ending got a bit carried away, but it still presents a pretty cool twist on the whole Jack the Ripper scenario without totally insulting the intelligence or even upsetting one's sense of history. (Like Disney's "Pocahontas.") The respect the filmmakers have for their material shines through and elevates this above what it could have been. Definitely worth seeing, if only for its originality.

The best thing about an enduring mystery is that people can feel free to take all sorts of liberties with the facts and create interesting "what if" scenarios. FROM HELL is a perfect example. For the record, the theory behind the killings is pretty much right out of JACK THE RIPPER: THE FINAL SOLUTION by Stephen Knight, and it's been pretty well discredited since it first came out twenty years ago, even though it makes a hell of an entertaining piece of fiction.

I completely discount any criticisms of the movie where people say "it didn't happen that way". Of course it didn't; that's why this is a fictional film and not a documentary. It's very loosely based on the Alan Moore graphic novel, and about all it retains of it is the Duke of Clarence theory and the stylish look of the architecture. It's enough to make the film beautiful to watch.

Yes, I know that four of the five victims of Jack the Ripper were women in their late 40's, which on the streets of Victorian London would mean that they would resemble crones in their late 60's or early 70's. Just try to make that fly past a Hollywood studio boss; the casting at least had women who looked fairly human rather than like fallen glamour girls. I've read a couple of comments disparaging the accents. Actually, Cockney accents were the norm in the street because people tried to blend in and often weren't eager to advertise Scottish or Irish origins.

I call special attention to the performance of Jason Flemyng in the role of Netley, the coachman, arguably the most fascinating and believable character in the whole production. Most of his best scenes ended up on the cutting room floor, unfortunately, and yet he still manages to pull the movie together into a cohesive whole just by his presence. (It must have been a heck of a fun role to play!) As well, Sir Ian Holm deserves special mention for stepping in when the original choice for his role, Sir Nigel Hawthorne, tragically became ill and died just before the film went into production. I have never seen Sir Ian in any role that I didn't find completely believable, and that ranges all the way from KING LEAR to his role in ALIEN, for heaven's sake.

My interest in the whole Jack the Ripper case has been reawakened thanks to this movie, and I'm trying to hunt down a copy of Alan Moore's graphic novel (which is very difficult to find). No, it's not even close to an approximation of what really happened; nobody will ever know the truth, Patricia Cornwell's arrogant claims notwithstanding. It's still worth renting, if only for the beautifully ominous score and the fascinating transformation of Prague into Victorian London. I thoroughly enjoyed it.