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Hands of the Ripper

Hands of the Ripper

Horror · Thriller · 1971

A series of murders occur that mirror those committed by the Whitechapel Ripper. Through his experiments with psychoanalysis Dr Pritchard discovers a deadly violence in one of his young female patients. As he delves into the recesses of her mind he uncovers that Anna is possessed by her dead father's spirit, willing her to commit acts of gruesome savagery over which she has no control. But the most chilling revelation of all is the identity of her father: Jack the Ripper himself.

Movie details

Hands of the Ripper

“The hands of Jack the Ripper live again...”

1971 Horror · Thriller 1h 25m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

A series of murders occur that mirror those committed by the Whitechapel Ripper. Through his experiments with psychoanalysis Dr Pritchard discovers a deadly violence in one of his young female patients. As he delves into the recesses of her mind he uncovers that Anna is possessed by her dead father's spirit, willing her to commit acts of gruesome savagery over which she has no control. But the most chilling revelation of all is the identity of her father: Jack the Ripper himself.

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 Hands of the Ripper?

The 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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Names above the title

The people responsible.

Directed by

Peter Sasdy

Written by

Edward Spencer Shew · L.W. Davidson

Eric Porter

Eric Porter

Dr. John Pritchard

Angharad Rees

Angharad Rees

Anna

Jane Merrow

Jane Merrow

Laura

K

Keith Bell

Michael

Derek Godfrey

Derek Godfrey

Dysart

Dora Bryan

Dora Bryan

Mrs. Golding

Marjorie Rhodes

Marjorie Rhodes

Mrs. Bryant

Court is in session

Put Hands of the Ripper on trial.

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

The defence The Cool Ironist

“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 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.