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.
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The Two Faces of Dr. Jekyll
Horror · Science Fiction · 1960
After a series of scientific experiments directed towards freeing the inner man and controlling human personalities, the kindly, generous Dr Henry Jekyll succeeds in freeing his own alter ego, Edward Hyde, a sadistic, evil creature whose pleasure is murder.
Movie details
The Two Faces of Dr. Jekyll
“LIKE NOTHING YOU HAVE EVER SEEN!”
1960 Horror · Science Fiction 1h 28m
Critical arithmetic
One number, for now.
Scores change. Arguments endure.
TMDB
6.1 / 10
Community rating
After a series of scientific experiments directed towards freeing the inner man and controlling human personalities, the kindly, generous Dr Henry Jekyll succeeds in freeing his own alter ego, Edward Hyde, a sadistic, evil creature whose pleasure is murder.
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 The Two Faces of Dr. Jekyll?
For the defence
The Arthouse Gremlin
“The stranger, the better.”
Read their case For the prosecution
The Prestige Tourist
“You like your greatness pre-approved.”
Read their objectionThe split comes from the same five-axis model used by the test, not audience ratings or review sentiment.
Where it lives
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Streaming availability data supplied by JustWatch.
Names above the title
The people responsible.
Cast & crew
Directed by
Terence Fisher
Written by
Wolf Mankowitz
Paul Massie
Dr. Jekyll / Mr. Hyde
Dawn Addams
Kitty Jekyll
Christopher Lee
Paul Allen
David Kossoff
Dr. Littauer
Norma Marla
Maria
Francis de Wolff
Inspector
Joy Webster
Jenny
Court is in session
Put The Two Faces of Dr. Jekyll on trial.
Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.
The prosecution The Prestige Tourist
“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.