Rouben Mamoulian gives us an erotic, scary vision of man as beast, illustrating the dangers of sexual repression with a hairy paw. He has at his disposal the great Karl Struss, whose photography helps crystallize the symbols of lust and virtuous chastity. Mostly lust.
Fredric March's Hyde stands yet as one of the most terrifying beasts ever captured on film, his hair a silverback gorilla's mane, his teeth protruding like shards of broken china, his broad negroid nostrils a stark contrast to Jekyll's pretty aquiline features... but the eyes: March always has the eyes of a degenerate, no matter what he plays. This is the chief appeal of his urbanity, this lurking hint of monstrousness, and when Hyde is unleashed, crying "Freedom!", the eyes dart with hideous delight, and we squirm to see the thing within, without.
Hyde's sudden entrance to Miriam Hopkins' parlor, his silent glare from the landing, the catlike menace of his approach to the cowering women... this is what horror means. Nispel, Roth, take a lesson.
Fredric March's Hyde stands yet as one of the most terrifying beasts ever captured on film, his hair a silverback gorilla's mane, his teeth protruding like shards of broken china, his broad negroid nostrils a stark contrast to Jekyll's pretty aquiline features... but the eyes: March always has the eyes of a degenerate, no matter what he plays. This is the chief appeal of his urbanity, this lurking hint of monstrousness, and when Hyde is unleashed, crying "Freedom!", the eyes dart with hideous delight, and we squirm to see the thing within, without.
Hyde's sudden entrance to Miriam Hopkins' parlor, his silent glare from the landing, the catlike menace of his approach to the cowering women... this is what horror means. Nispel, Roth, take a lesson.