The Horror cinema industry was once greatly influenced by Hammer Films during the late 1950s to the early '70s, and it recently returned with a new adaptation of Robert Louis Stevenson's "Doctor Jekyll." This time, the label, led by John Gore, has taken a different direction with the classic horror tale. The movie, although captivating due to the central performance, pales slightly due to the lack of depth in its narrative.
The gender twist isn't new to the Hammer's version of "Jekyll and Hyde." The interpretation in 1971's "Dr. Jekyll and Sister Hyde" had a similar spin. However, the current version, helmed by director Joe Stephenson and written by Dan Kelly-Mulhern, turned this classic tale into a low-key play, taking a bit too long to reach its climactic transformations.
Other than Blair Mowat's eccentric musical score, the movie's success heavily relies on Eddie Izzard's enigmatic acting as Dr. Nina Jekyll. Nina, a secluded billionaire who requires medication to suppress an obscured condition, hires the services of troubled former convict, Rob Stevenson, wonderfully portrayed by Scott Chambers.
Initially, the film is interesting, gearing towards a budget-friendly version of "Phantom Thread." However, the narrative fails to sustain suspense regarding Jekyll's real reasons for bringing Rob into the mix and her secretive ailment.
Despite its flaws, Izzard's spellbinding acting carries much of the film. It is evident that her personal journey as a trans woman breathes life into the character, unfolding nuanced layers of performance. Some co-stars seem to struggle to match Izzard's strengths, notably Chambers, whose performance faltered next to the others.
While touching on the concept of transformation, canonical to the original Jekyll and Hyde, the inclusion of a trans woman as the lead provides a new perspective. The struggle is less about gender and more about morality. However, despite the fascinating twist, the film slows down and seems hesitant, landing shakily between a campy take and a character study.
In closing, while Izzard's acting, the gender-swapped lead, and Stevenson's reinterpretation bring a fresh take to the table, the film tends to falter in adequately exploring its many diverging ideas. The final message suggests that regardless of one's identity, the body you yearn for may not always be your own - a perplexing thought to consider.
