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Dr. Jekyll and Mr. Hyde

Dr. Jekyll and Mr. Hyde

Horror · Science Fiction · Drama · 1931

Dr. Henry Jekyll believes that there are two distinct sides to men: one that is good and one that is evil. He believes that by separating the two, man can become liberated. He succeeds in his experiments with chemicals to accomplish this and transforms into Hyde to commit horrendous crimes. When he discontinues use of the drug, it is already too late.

Movie details

Dr. Jekyll and Mr. Hyde

“Put yourself in her place! The dreaded night when her lover became a madman!”

1931 Horror · Science Fiction · Drama 1h 36m

Critical arithmetic

One number, for now.

TMDB

7.2 / 10

Community rating

Dr. Henry Jekyll believes that there are two distinct sides to men: one that is good and one that is evil. He believes that by separating the two, man can become liberated. He succeeds in his experiments with chemicals to accomplish this and transforms into Hyde to commit horrendous crimes. When he discontinues use of the drug, it is already too late.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Dr. Jekyll and Mr. Hyde?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Rouben Mamoulian

Written by

Samuel Hoffenstein · Percy Heath

Fredric March

Fredric March

Dr. Henry Jekyll / Mr. Edward Hyde

Miriam Hopkins

Miriam Hopkins

Ivy Pearson

Rose Hobart

Rose Hobart

Muriel Carew

Holmes Herbert

Holmes Herbert

Dr. John Lanyon

Halliwell Hobbes

Halliwell Hobbes

Brig. Gen. Sir Danvers Carew

Edgar Norton

Edgar Norton

Poole

Tempe Pigott

Tempe Pigott

Mrs. Hawkins

Court is in session

Put Dr. Jekyll and Mr. Hyde on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.