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  (Redirected from Dr. Jekyll and Mr. Hyde (1920 film))
Not to be confused with Dr. Jekyll and Mr. Hyde (1920 Haydon film).


Dr. Jekyll and Mr. Hyde is a 1920 horror silent film produced by Famous Players-Lasky and released through Paramount/Artcraft. The film, which stars John Barrymore, is based on the 1886 novella The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson. John S. Robertson directed the production, and Clara Beranger wrote this adaptation's screenplay or “scenario”. The story, set in late Victorian London, portrays the tragic consequences of a doctor's experiments in separating the dual personalities he thinks defines all humans: one good, the other evil. The film is now in the public domain.

Dr. Jekyll and Mr. Hyde
Theatrical release poster, 1920
Directed byJohn S. Robertson
Produced byAdolph Zukor
Jesse L. Lasky
Written byThomas Russell Sullivan
Clara Beranger
Based onThe Strange Case of Dr Jekyll and Mr Hyde
by Robert Louis Stevenson
StarringJohn Barrymore
Martha Mansfield
Charles W. Lane
Nita Naldi
CinematographyRoy F. Overbaugh
Production
company
Famous Players-Lasky/Artcraft Pictures
Distributed byParamount Pictures
Release date
March 28, 1920 (New York premiere)
Running time
79 minutes
CountryUnited States
LanguageSilent film
English intertitles

Screenplay

Henry Jekyll (John Barrymore) is a doctor of medicine living and working in London in the late 1880s. When he is not treating the poor in his free clinic, he is in his laboratory experimenting. Sir George Carew (Brandon Hurst), the father of Jekyll’s fiancée Millicent (Martha Mansfield), is suspicious of the young doctor’s intentions and often irritated by his tardiness and highmindedness. "No man”, Carew observes, “could be as good as he looks.” Following dinner one evening, Carew taunts his prospective son-in-law in front of their mutual friends and debates with him about the causes and effects of a person’s personality, insisting that every man is fundamentally composed of two “selves” who are in continual conflict. “A man cannot destroy the savage in him by denying its impulses”, instructs Carew. “The only way to get rid of a temptation is to yield to it.”

 
Dr. Jekyll with his fiancée Millicent (Martha Mansfield)

Reflecting on Sir George’s comments, Jekyll begins his research and experiments into separating the two basic natures of man, the good and the evil. Finally, after much trial and error, he develops a potion that rapidly transforms him into a hideous, evil counterpart, a man he refers to as Edward Hyde. When in the form and consciousness of Hyde, Jekyll is not recognizable as himself, so to facilitate his bad side’s access to his own home and adjacent laboratory, the doctor informs his trusty servant Poole (George Stevens) that Mr. Hyde is to have "full authority and liberty” at the residence. Utilizing his potion, Jekyll literally begins to live a double life: the compassionate and gentlemanly doctor by day, and the lustful, hunchbacked “creature” who ventures out largely at night. As Hyde, he lurks about the seediest parts of London, frequenting opium dens, bars, and music halls—anywhere he can satisfy his “dark indulgences”. He rents a small furnished room in the area and brings Gina (Nita Naldi), a young woman and exotic dancer, to live with him. Soon, however, Hyde tires of her company and forces her to leave.

 
Mr. Hyde with owner of music hall (Louis Wolheim) where Gina dances

Although Jekyll has developed a counter-potion that transforms Hyde back to the doctor’s original appearance and character, each time he takes the potion to become Hyde, the beast becomes increasingly more vile and physically more hideous. Meanwhile, Millicent worries about the absence of her fiancé, so Sir George calls on Jekyll, but the young man is not at home. Sir George then encounters Hyde in a nearby street, where the brute has just knocked a small boy to the ground and injured him. To make recompense for his actions, he goes and gets a check which he returns to the boy's father. Carew notices that the check has been signed by Dr. Jekyll. He confronts Poole who tells him the story of Edward Hyde.

Hyde now returns to the lab; drinks the counter-potion and changes once again into his original form. Sir George finds the transformed Jekyll in the lab and demands to know about his relationship with Mr. Hyde, threatening to break off his daughter’s engagement to the doctor if he does not answer his questions. The threat enrages Jekyll, so much so that the stress itself triggers his retransformation to Hyde. Horrified in witnessing the change, Sir George flees out of the lab, but Hyde catches him in the courtyard and beats him to death with his stout, club-like walking stick. Hyde then runs to his apartment and destroys any evidence there that might link him to Jekyll. After barely avoiding the police, the creature returns to the lab, where drinks the counter-potion and reverts to Jekyll.

In the ensuing days, while Millicent mourns over her father’s murder, Jekyll is tormented by the thoughts of his misdeeds as Hyde. Soon, the ingredient needed to make the counter-potion is depleted and cannot be found in all of London. Jekyll therefore confines himself to his locked lab, fearing he might become Hyde at any moment. Millicent finally goes to see him, but as she knocks on the lab's door, he begins transforming into Hyde. Before he opens the door, Jekyll consumes poison in a ring he wears, one that he had taken from Gina. Now fully transformed into Hyde, he lets Millicent in, locks the door, and grabs her in his arms. Suddenly, he starts convulsing. Millicent runs from the lab and her shouts for help attract Poole, Jekyll's longtime friend Dr. Richard Lanyon, and another friend, John Utterson. Lanyon enters the lab and finds Hyde dead, sitting in a chair. To his astonishment, he watches the creature transform into Jekyll. Discerning that his friend had committed suicide, Lanyon and calls the others into the lab, where he informs them that Hyde has killed Jekyll. As the film ends, Millicent is grieving next to the body of Jekyll.

  • John Barrymore as Dr. Henry Jekyll / Mr. Edward Hyde/giant spider in dream
  • Brandon Hurst as Sir George Carewe
  • Martha Mansfield as Millicent Carewe, Sir George's daughter
  • Charles Willis Lane as Dr. Richard Lanyon
  • Cecil Clovelly as Edward Enfield
  • Nita Naldi as Gina, the Italian exotic dancer
  • Louis Wolheim as music hall proprietor

Uncredited

  • J. Malcolm Dunn as John Utterson
  • George Stevens as Poole, Jekyll's butler
  • Alma Aiken as distraught woman in Jekyll's office
  • Julia Hurley as Hyde's old landlady
  • Edgard Varèse as policeman
  • Blanche Ring as woman with elderly man in music hall
  • May Robson as prostitute standing outside music hall
 
A 1920 lobby poster depicting the dashing and “good” Dr. Henry Jekyll
  • The early part of Jekyll's initial transformation into Hyde was achieved with no makeup, instead relying solely on Barrymore's ability to contort his face and body. In one scene, as Hyde reverts to Jekyll, one of Hyde's prosthetic fingers can be seen flying across the screen, having been shaken loose by Barrymore's convulsions.
  • The character of Millicent Carew does not appear in Stevenson's original story, but in the 1887 stage version by Thomas Russell Sullivan starring Richard Mansfield. This 1920 film version used the play's concept of Jekyll being engaged to Carew's daughter, and Hyde beginning a dalliance with a dance-hall girl.
  • After Nita Naldi’s death in 1961, The New York Times noted in its obituary of the actress that it was John Barrymore who had “obtained a part for her in the film, ‘Dr. Jekyll and Mr. Hyde,’” after he “spotted” her dancing at the Winter Garden Theatre in Manhattan.

Critical reception, 1920

In 1920, film critics in the trade media and in fan-based publications generally gave high marks to Dr. Jekyll and Mr. Hyde and, not surprisingly, focused chiefly on John Barrymore. The popular trade paper Variety described the production as a “fine and dignified presentation” with an “excellent” performance by Barrymore despite what the paper viewed as the absurd nature of the plot:

The story itself is ridiculous, judged by modern standards, but that doesn’t alter its value as a medium for Mr. Barrymore...As the handsome young Dr. Jekyll his natural beauty of form and feature stand him in good stead and he offers a marvelous depiction of beastiality in the transformed personality of “Mr. Hyde.” Yet he was always Jack Barrymore, which is the most adverse comment that could be made upon the production....

In the weeks following the release of Dr. Jekyll and Mr. Hyde in March 1920, media reports about the box-office receipts being generated by the film and the exorbitant prices being spent by “movie palaces” to rent it attest to the production’s commercial success. On April 2, for example, Variety reported that the Rivoli Theatre, a prestigious entertainment venue in New York City, was already earning “enormous takings” from its screenings of the film. Variety also informed its readers that the Rivoli’s management had paid $10,000 to the film’s distributor just to rent the picture, which it noted was “probably a record price for a straight rental anywhere in the world”.

With regard to broader public reaction to Dr. Jekyll and Mr. Hyde in 1920, fan-based publications and individual moviegoers expressed more mixed reactions to the film than critics in entertainment trade papers. Some of those reviewers, like the title characters in the film, were "split”, harboring both decidedly positive and negative opinions about the production. Photoplay, a widely read New York-based monthly, provides one example of such mixed reactions. In the magazine’s June 1920 issue, critic Burns Mantle describes two of his friends’ diametric responses to the picture. One friend praised it as “a perfect sample” of filmmaking, destined to be a “classic” in cinematic history; the other friend was appalled by it. As to his latter friend, Mantle adds that she “insists as strenuously that 'Dr. Jekyll and Mr. Hyde' gave her a most terrific attack of the blues from which she has yet to recover, nor expects to ever fully recover.” Mantle’s own feelings about the much-anticipated release were not so clear-cut:

My own reaction to this cinemagraphic tour de force strikes somewhere between those two . I left the picture cold, not to say clammy, but eager to sing the praises of J. Barrymore...by which he reaches the peak of his screen achievements. Eager to also declare it to be the finest bit of directing John Stewart Robertson has ever done...and a job that places him with the first half dozen intelligent directors in the field.

But I felt a lot like my other friend who would keep her children away from it and suffer nary a pang of disappointment if I were told I should never look upon its likes again. Frankly I do not care for horrors, either on screen or stage.

 
Dr. Jekyll And Mr. Hyde 1920 Film

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