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Stephen Frears reunites with the production talents who made the tempting
Dangerous Liaisons for this new look at the infamous Dr. Jekyll (a deft John Malkovich). Instead of being in the laboratory where the good doctor unlocks his evil twin, we stay in the mansion overlooking the lab. An inquisitive, proper maid, Mary Reilly (Julia Roberts) slowly becomes Dr. Jekyll's confidant. Rather than a horror story, the film is a spooky mystery that keeps us in the dark, and what a wonderful dark Frears and his designers have fashioned. Roberts carries the movie, digging deep for her best dramatic work to date. Though some may wish she'd show more passion, she holds her emotions appropriately in check. The movie faced considerable, well-documented troubles, including the reshooting of several scenes months after the initial production. This probably affected the finale, which has little impact and nearly ruins a good thing.
--Doug Thomas
John Malkovich plays Dr. Jekyll, the kindly man of science, and his brutish alter ego, Mr. Hyde, and Julia Roberts plays a wide-eyed Irish housemaid who is, it seems, attracted to both of her employer's personalities. The movie-directed by Stephen Frears, from a screenplay by Christopher Hampton-is solemn, brooding, and lifeless. Frears and his superb cinematographer, Philippe Rousselot, establish a dark, portentous visual mood, but the script stubbornly refuses to deliver the horror-movie payoffs that it promises. And the director, whose temperament is essentially ironic, doesn't bring much conviction to the romantic elements of the drama. This is, unfortunately, one of those genre pictures in which subtext has been promoted to text and vulgar narrative has been sent downstairs to the servants' quarters. Instead of revealing, as Robert Louis Stevenson's original story did, the bestial impulses repressed by Victorian respectability, the movie attempts to release the literary soul pent up within the crude, vigorous form of horror fiction, and the experiment backfires: the high-toned metaphor runs amok and kills the audience's pleasure. Also with George Cole and Michael Gambon. Based on a novel by Valerie Martin. -Terrence Rafferty
Copyright © 2006
The New Yorker