For years I knew that Fredric March had won one of his Oscars for DR. JEKYLL AND MR. HYDE back in the '30s and always assumed that because of this his performance was superior to Spencer Tracy's.
But having just seen the Tracy-Bergman-Turner version, my opinion has changed. Whereas the make-up for March makes him look like a cheap monster in a Universal thriller and almost Simian, Tracy achieves a distinctly chilling effect simply through posture and facial expressions alone with a minimum of make-up. His first encounter with the barmaid Ivy (Ingrid Bergman) is beautifully done with both of them registering emotions as they play against each other--Tracy with a wicked gleam in his eye and Bergman trying to hide her fear. She creates a really sympathetic character, especially when she realizes the extent of her degradation. Her scenes with Tracy where he is sadistically taunting her remind one of the cat-and-mouse game she played with Charles Boyer in "Gaslight".
The B&W photography realistically captures Victorian London after dark with its swirling mists and street lamps. All of the performances are first rate except for an uncertain Lana Turner who has a pallid role and can do little with it.
The only flaws are the film's length--it takes too long to tell the tale with its long-winded speeches--and the leisurely pace under Victor Fleming's direction makes the horror more muted than it need be.
But having just seen the Tracy-Bergman-Turner version, my opinion has changed. Whereas the make-up for March makes him look like a cheap monster in a Universal thriller and almost Simian, Tracy achieves a distinctly chilling effect simply through posture and facial expressions alone with a minimum of make-up. His first encounter with the barmaid Ivy (Ingrid Bergman) is beautifully done with both of them registering emotions as they play against each other--Tracy with a wicked gleam in his eye and Bergman trying to hide her fear. She creates a really sympathetic character, especially when she realizes the extent of her degradation. Her scenes with Tracy where he is sadistically taunting her remind one of the cat-and-mouse game she played with Charles Boyer in "Gaslight".
The B&W photography realistically captures Victorian London after dark with its swirling mists and street lamps. All of the performances are first rate except for an uncertain Lana Turner who has a pallid role and can do little with it.
The only flaws are the film's length--it takes too long to tell the tale with its long-winded speeches--and the leisurely pace under Victor Fleming's direction makes the horror more muted than it need be.