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Journal of Popular Film and Television

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Dr. Jekyll AND Mr. Hyde: A Filmography

Charles King
Published online: 02 Apr 2010.

To cite this article: Charles King (1997) Dr. Jekyll AND Mr. Hyde: A Filmography, Journal of Popular Film and Television, 25:1,
9-20, DOI: 10.1080/01956059709602745

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'Ihe story 01 1)r. Jekj I1 and Mr. Hyde remains popular perhaps becdiire of it\ idea of segregating one component 01
a person and gi\ irig it a reparate physical form.
A F I L M O G R A P H Y
S
ince its original publication in 1886, Robert
Louis Stevenson's The Stmtige Case of D K
. I d d l uiid MI: H y i e has maintaineu a remark-
able and never-wavering popularity. The stot y has
achieved such a high levcl of name recognition that
mo\t Americans and European\ who have never read
the original story could \ummarize its plot, or at least
explain its central premise. Particularly in the United
9
By CHARLES KING
States, the story has frequently been udaptcd f o r filtii.
Although the film versions could be claimctl with
equal authority by the horror and science fiction gen-
res, they are now nittneroits enough to constitutc a
subgenre. There have been at least 88 lilm and tclcvi-
sion adaptations, including shorts and some less-Ira-
ditional variations. Since 1908, there has not been a
period of longer than five years without a version of
 10
the story, and multiple versions in the
same year are not uncommon. Most
scholarship on film adaptations of DK
Jekyll and Mr. Hyde has focused on
only a handful of the films, most fre-
quently Rouben Mamoulian’s 1931
version. This article is intended to be
an introduction to the study of the
broader subgenre, both identifying
themes that appear in a number of ver-
sions and providing the most compre-
hensive and accurate filmography
compiled on the subject. The filmogra-
phy in particular should serve as a solid
Downloaded by [The University of Manchester Library] at 08:19 29 October 2014
foundation for future research into the
Jekyll and Hyde film subgenre.
Themes and Variations
Some Jekyll and Hyde films retain a
large part of Stevenson’s story, and
others retain only the central premise
of a transformation that separates
someone’s personality into indepen-
dent components. The popularity of
Dr. Jekyll and Mr. Hyde may rest less
in the specifics of Stevenson’s story-
excellent though it is-than on the
basic appeal of the idea of segregating
one component of a person from the
whole and giving it a separate physical
form. Different filmmakers have treat-
ed this premise in a variety of ways,
producing everything from grim cau-
tionary tales to slapstick comedy, from
puritanism to pornography. Major
themes of the films include the fear (or
celebration) of a loss of self-control,
concerns about the potential of science
to violate a natural order, the seduc-
tions and dangers of addiction, and the
potential consequences (negative or
positive) of reversing standard social
or sexual conventions.
One theme that is found in many of
the films, and which derives from
Stevenson’s story, is the fear of the
“beast within,” the idea that a segment
of the personality that is evil or devot-
ed to amoral self-gratification could be
segregated or selectively unleashed.
Variations of this idea can be found in
a number of works of nineteenth-cen-
tury fiction, including such notable
examples as Edgar Allen Poe’s
William Wilson (1839) and Oscar
Wilde’s The Picture of Dorian Gray
(1890). In those stories, the potential
JPF&T-Journal of Popular Film and Television
negative qualities of a person are in
some way concentrated together-in a
painting, for example, in Wilde’s
story-but more commonly in the
form of a dangerous alter ego.’
Probably all of such stories should
be seen as manifestations of a much
older folkloric tradition about people
who are unable to control an aspect of
their persona that can transform into a
fierce beast. The differences between a
werewolf story and a Jekyll and Hyde
story are often not great, as both fre-
quently exploit a fear that the main
character (with whom the audience
identifies) will be unable to avoid hurt-
ing his or her closest friends, relatives,
or lover. This element is strongest at
the end of the Jekyll and Hyde story,
when Jekyll begins to change without
taking any drugs. At that point, he
seems as cursed to harm those around
him as any victim of lycanthropy.
Indeed, Stevenson’s story compounds
the menace posed by the werewolf
legend, for Jekyll cannot even depend
on the regularity of the lunar cycle to
tell him when he will change into an
uncontrollable monster.
Such stories draw on the audience
members’ fears about their own self-
control and safety and the safety of
those around them. Any society has
actual examples of seemingly placid
people who suddenly become raging
monsters due to insanity, intoxicants,
anger, or a breakdown in social
restraints caused by war (of which
recent events in Bosnia are only the
latest example). Hyde represents the
human potential for violence, both in
his casual attacks on strangers and in
his destructive personal relationships.
Several film versions of the story show
the character forming a long-term abu-
sive relationship with a dance-hall girl,
spending his days in socially accept-
able activities as Jekyll, and then
changing to Hyde for evenings spent
terrorizing, beating, and sexually
abusing his girlfriend. In a time when
there is more open discussion of
domestic abuse, it is now possible to
say in films what Rouben Mamoulian
(1931) and Victor Fleming (1941)
were probably reluctant to say in
theirs, that Hyde’s abusive relationship
with his mistress is not so different
from abusive relationships that actual-
ly exist in our society. Part of the con-
tinual fascination with Hyde is that the
character is only a slight exaggeration
of the negative aspects of our culture,
and most variations of the story
(except for some of the comedies) play
on the audience’s suspicion that the
capacity to become Hyde might be
lurking inside of anyone.
One interesting difference between
the films and Stevenson’s original
story is that Stevenson’s story lacks
any female characters or sexual con-
tent.2The films tend to emphasize sex-
ual repression as the major force
underlying Jekyll’s transformation and
present the unleashing of sexual desire
as the main manifestation of the “beast
within.” To introduce the sexual ele-
ments, the films frequently use one or
both of two devices. One is to intro-
duce a lower-class woman (usually a
dance-hall girl) whom Jekyll finds
attractive but whom he cannot
approach because of their difference in
status. The other is to give Jekyll a
fiancke or girlfriend with whom he
cannot have sex because of Victorian
prohibitions and because her father is
trying to stop or delay their marriage.3
Several versions, including those of
John S . Robertson (1920), Mamoulian
(1931)’ and Fleming (1941), combine
the two ideas, making the engagement
yet another reason why Jekyll cannot
act on his attraction to the dance-hall
girl. In Mary Reilly (1996) Stephen
Frears seems to be trying to combine
elements of both in a single person.
Mary Reilly is a lower-class, live-in
maid who is in love with Jekyll, but
who also forms a relationship with
Hyde. Other films involve only the
dance-hall girl (Reisner, 1955; Jarrott,
1968) or only the fianckelgirlfriend
(Borowczyk, 1981; Wickes, 1990).
When Jekyll transforms, Hyde acts (or
at least attempts to act) on the desires
that Jekyll repressed, but always in the
ugliest possible way. Hyde’s relation-
ship with the lower-class woman is
abusive, and he threatens Jekyll’s
fianc6e/girlfriend with rape. Hyde’s
attempt to assault Jekyll’s girlfriend
can be found in versions as early as

that of Henderson (1912). In Jekyll &
Hyde (Wickes, 1990), he succeeds in
raping her.
It is perhaps a tribute to the versatili-
ty of Dr. Jekyll and Mr. Hyde that film-
makers have taken the same plot ele-
ments and presented fundamentally
incompatible interpretations.One read-
ing is as a strict cautionary tale against
unleashing destructive desires against
loved ones. The fear of such an un-
leashing may be a common element in
traditional werewolf lore, but Steven-
son’s story is better suited to advocating
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specifically sexual restraint, for Jekyll
is changing into Hyde voluntarily, and
that is a self-indulgencehe could avoid.
Because of the destructive potential in
any relationship in which one of the
parties is only interested in self-gratifi-
cation, the story of Hyde can be used to
argue that restraint is good, and that
society requires it to survive.
Some of the films go so far in advo-
cating sexual restraint that they sug-
gest that sexual desire in general is a
danger that should be suppressed. In
Robertson’s version (1920), when
Jekyll simply looks at a dancer and
finds her attractive, a silent title card
reads, “For the first time in his life,
Jekyll had wakened to a sense of his
baser nature.” In Jarrott’s version
(1968), the dancer makes a pass at
Jekyll saying, “What does it feel like,
doing something you want for a
change?’ Jekyll’s response is to
change involuntarily into Hyde and
attack her. In these films (particularly
Robertson’s), Hyde’s eventual destruc-
tion of Jekyll’s life seems to be a pun-
ishment for Jekyll’s failure to maintain
his self-control.
Other films take a different tack.
Mamoulian’s Dr. Jekyll and Mr Hyde
(1931) and Wickes’s Jekyll & Hyde
(1990) both emphasize a contrast
between the positive relationship
Jekyll has with his fiancke/girlfriend
and the abusive relationships of Hyde.4
Although the films are still cautionary
tales against violence and sexual
excesses, the blame shifts subtly from
individual lust to society’s restrictions.
If Jekyll could pursue his love affair
without the barriers erected by social
convention and the woman’s father, he
Dr. Jekyll and Mr. Hyde
would not have been tempted to trans-
form himself into Hyde. Moderate
sexual desire and moderate sexual ful-
fillment are therefore affirmed as
virtues; their restriction doomed Jekyll
and might doom others.
Far more radical is Walenan Borow-
czyk’s 1981 version, which rejects any
moral restraints, on sex or anything
else. Borowczyk’s Hyde sexually
assaults most of the film’s characters,
both male and female, and only those
who have freed themselves of social
restraints and are themselves in some
way subverting bourgeois conventions
survive his attack. In Borowczyk‘s
n the majority of the films, JelcylI first
controls his use of the drug, but in
the end the drug controls him.
film, unleashing the beast within is
preferable to enduring the endless
banalities of bourgeois society, and the
film displays no sympathy for Hyde’s
victims. At the end of the film, Jekyll’s
fiancke Fanny Osbourne5 voluntarily
transforms herself into a Hydelike
female, helps Hyde slaughter her fami-
ly, and then elopes with him. The final
scene shows the pair of them inside a
carriage, licking blood from each
other’s nude bodies in an orgy of anar-
chic triumph.
Like Robertson’s film, Borowczyk’s
has several supporting characters and
plot elements that are still recognizable
as being drawn from Stevenson’sstory,
but it reflects a moral and political per-
spective as different from that of
Robertson as any story could be. What
is remarkable about Stevenson’s cen-
tral plot premise is that it allows any
number of variant themes to be con-
structed on its basic framework, even
within a specific motif like the beast
within. Dr. Black, Mr. Hyde (Crain,
1975) shifts gears (at least partially)
11
from sex to race and suggests that the
beast within a black man who wants to
heal is a white man who wants to kill.
In addition to concerns about sexual
repression and the beast within, other
themes in Jekyll and Hyde films derive
from the idea of a transformation that
is scientifically and deliberately enact-
ed (at least at first). One issue is the
question of when science goes too far.
Should men attempt to alter “God’s
plan” for the universe? In his book Per
Schelde perhaps exaggerates when he
presents “not playing god” as the pri-
mary (indeed, sole) theme of the Dr.
Jekyll and Mr. Hyde story? but the
theme is certainly present in several
film versions. In the films of Mamou-
lian (1931), Fleming (1941), Jarrott
(1968), and Wickes (1990), Jekyll’s
experiments are described as “blas-
phemy,” and the negative outcome of
the experiment confirms the point.
Even in The Nutty Professor (1963),
Jerry Lewis makes a speech about how
science can go too far.
Another major theme in the films is
addiction. In the beginning, Jekyll con-
trols his use of the drug, but in the end
the drug controls him. In Allen Reis-
ner’s television version (1955), Jekyll
tells his lawyer that he enjoys the
release that the drug gives him, but in
the end he cannot control the transfor-
mations. Mary ReiZly (1996) uses the
title character’s alcoholic father as an
overt comparison to Jekyll and his
transformations, a metaphor both for
the way a drug can alter personality and
for Jekyll’s compulsive need for it. One
of the more unusual slants on the drug
theme is in Edge of Sanity (Kikoine,
1988), in which Hyde smokes his for-
 12
mula from what looks like an opium
pipe. What is odd is that he repeatedly
shares the drug with other people who
merely become intoxicated. In other
words, the drug is nothing but a simple
narcotic that removes inhibitions, and
there is no transformation outside of
Jekyll’s mind. If “Hyde” kills people
under the drug’s influence, it is because
Jekyll is already insane. This Jekyll,
too, is addicted to his drug-induced
freedom, and given a choice between
the drug and the life of his wife, he
chooses the former.
Downloaded by [The University of Manchester Library] at 08:19 29 October 2014
Comic versions tend to concentrate
on the humorous potential of transfor-
mations in unexpected forms, at unex-
pected times, or in ways which reverse
the expected status quo. Steno’s Dot-
tor Jekyll e gentile signora (1979) has
an uncharacteristically sinister Jekyll
deliberately trying to turn his grandson
into a dangerous monster, only to have
him transform into a completely
benevolent figure instead. In the car-
toon version Hyde and Go Tweet (Fre-
ling, 1960), the seemingly helpless
Tweety Bird suddenly becomes more
than a match for his larger pursuer
Sylvester the Cat, to the cat’s total
bewilderment (and the audience’s sat-
isfaction). In both versions of The
Nutty Professor (Lewis, 1963; Shady-
ac, 1996), an unattractive professor
transforms himself into a handsome
ladies’ man, only to switch back at
inconvenient moments as his two per-
sonas battle for control of his body.
Both personas pursue the same
woman, who eventually chooses the
doctor’s original form.
The comedies often drift far from
Stevenson’s book, but they neverthe-
less form an interesting flip side to the
more serious adaptations, in that they
are basically wish-fulfillment fan-
tasies. It is perhaps worth remember-
ing that when people fantasize about
changing to a different persona, it is
more likely to be a pleasant “what if’
fantasy than a cautionary tragedy. The
hero of both versions of The Nutty
Professor is able to find out what his
life would be like if he were handsome
and self-confident, but he also finds
love in his original form: two fantasies
for the price of one.
JPF&T-Journal of Popular Film and Television
One final subgroup of wish-fulfill-
ment versions should be noted: movies
in which a male Jekyll changes into a
female Hyde. There are now four such
films, which demonstrates the popu-
larity of the idea. As a group they are
extremely lightweight, usually aiming
for cheap laughs (as in DI: Jekyll and
Ms.Hyde; Price, 1995) or the potential
for sexual titillation inherent in a tem-
porary change in gender. DI: Jeckel
and Ms.Hyde (Craig, 1990) is a hard-
core pornographic film, and The Adult
Version of Jekyll and Hide (Raymond
and Elliot, 1971) was X-rated by the
standards of its day. Only DI: Jekyll
and Sister Hyde (Baker, 1971) makes
T
he comedies often drift far from
Stevenson’s book and are
basically wish-fulfiIlment fantasies.
more than the most token effort to be a
horror movie. The flimsiness of these
movies suggests that although the idea
of temporarily changing genders
might have some appeal as a male sex
fantasy, it is not a fantasy that the male
filmmakers want to look at too rigor-
ously. The total absence of versions in
which a female Jekyll changes to a
male Hyde is also striking.
Filmography
My purpose in presenting this list is
not to review all the films, which would
require a book-length study, but rather
to compile as complete a filmography
as possible and to attempt to resolve the
frequent contradictions in the credits
listed in available reference sources.
The only previous attempt to compile a
comprehensive list of Jekyll and Hyde
films is that of Hany M. Geduld in his
The Definitive Dr Jekyll and MI: Hyde
Companion (195-201). He listed 67
titles through 1976. Geduld’s work is
an impressive effort, and I am indebted
to it. However, it is somewhat dated,
not simply because of the absence of
recent films but also because Geduld
did not have access to reference works
that have recently become available. In
addition, close examination reveals that
several of Geduld’s titles are duplicates
under slightly different names; there
are also mistakes in dates and names of
directors. In this filmography I have
included additional information for a
number of the titles that Geduld includ-
ed, as well as 30 titles that he does not
list. I have also provided information
about video releases, which Geduld did
not attempt.
Of course, a major problem in com-
piling the filmography was deciding
what constitutes a “Jekyll and Hyde”
film. A lot of science-fiction films
borrow in part from Stevenson’s ideas,
but are not specifically adaptations of
The Strange Case of DI:Jekyll and MI:
Hyde-for example, Altered States
(1980), The Darker Side of Terror
(1979), Monster on Campus (1958),
and The Incredible Hulk (1978). I have
generally been conservative about
such quasi-adaptations, and I have
excluded them unless they were close
to the original story. I have been much
less strict about films that actually use
in their titles “Jekyll and Hyde” or
that make overt reference to Steven-
son’s story, and I have included a
number of eccentric items such as
television parodies and animated
shorts, as long as they contained the
central motif of transformation. I have
not seen all of the films on the list, but
I have tried not to include films that

did not attempt to be adaptations of
Stevenson’s story. For example, some
books say that Spanish director Jescs
Franco made a Jekyll and Hyde film,
but his The Mistresses of Dr. Jekyll (El
Secret0 del Doctor Orlojg; 1964) and
Mrs. Hyde (Sie tiStete in Ekstase,
1970) are just misleading retitlings of
films that had nothing to do with
Jekyll and Hyde.
Those who have not attempted to
compile a filmography dealing with
the silent era may be puzzled by the
many early films on this list that lack
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some or all of their credits. Many of the
early silent films are completely lost or
are simply unavailable for view to any-
one who is not prepared to travel the
world in search of a copy. More impor-
tant, many of the films never had cred-
its to begin with. Much of the informa-
tion that we take for granted in film
credits was routinely omitted in the
first 20 years of filmmaking. As a
result, the attribution of films is often
the product of detective work, and the
detectives, sadly, do not always suc-
ceed or agree among themselves. For a
good comparison, examine Roy Kin-
nard’s Horror in Silent Films, which
lists 436 titles for the period
1896-1912. Of these, Kinnard could
find the name of the director in only
111 cases, roughly 25 percent. I have
filled in some of Kinnard’s credit omis-
sions (and found silent films that he
does not mention at all), but some of
the gaps will never be filled. Generally,
I have attempted to avoid giving an
impression of certainty where it is not
warranted. There are certain mysteries
that simply do not lend themselves to
clear answers, such as the identity of
the director of Luke’s Double (1916),
the acting credits of Dr.Jekyll and Mx
Hyde (Henderson, 1912), or the ques-
tion of whether A Modern Dr. Jekyll
(1909) is a retitling of an earlier film. I
thought it was a better reflection of the
actual state of the evidence to acknowl-
edge the ambiguities in such cases
rather than to declare one of the
options to be certain. In other cases,
there is not even enough information
for ambiguity. The director of a film
like The Duality of Man (1910) is sim-
ply a black hole in the record.
Dr.Jekyll and Mr. Hyde
Curiously, television can present
some of the same problems. In the case
of early pioneering television efforts,
the shows can once again be lost andor
inadequately documented,but even rel-
atively recent material can be unavail-
able for view, often locked away in
some network vault. Perhaps because of
the sheer volume of episodes, reference
books have not achieved the degree of
thoroughnessfor television that one can
find for film,and often they cannot or
do not fill in the gaps. I have provided
as much information as I could.’
Each entry in the filmography gives
the director (d) and the actor or actors
(a) who play Jekyll and Hyde or, in the
case of less-traditional versions, the
name of the actor who undergoes a
transformation. In some cases, that
character is not the main character of
the film.The abbreviation @c) refers to
the production company or studio.
Video company listings (v for video
and vd for videodisc) may not always
reflect current availability, but out-of-
print tapes do continue to circulate in
many video stores. If there is no video
company stated, then the film is not (to
my knowledge) available in that medi-
um.The entries are numbered for cross
referencing. Unless otherwise stated in
its note, the entries are all feature-
length films or, in the case of television
series, episodes intended to fill an hour-
length time slot. I have given only a
partial number to some of the more
doubtful entries; thus, there is a “la”
and so forth.
NOTES
1. For other examples, see Ralph
Tymms, “Doubles in Literary Psychology,”
in The De$nitive D,: Jekyll and M E Hyde
Companion, ed. Harry M. Geduld (New
York Garland, 1983) 77-94.
2 For discussions of the original story
and its contemporary context, see Martin
Tropp. Images of Fear: How Horror Sto-
ries Helped Shape Modern Culture
(1818-1918) (Jefferson, NC: McFarland,
1990) 90-132; the essays collected by
William Veeder and Gordon Hirsh in Dr.
Jekyll and Mr.Hyde: Afer One Hundred
Ears (Chicago: U of Chicago P, 1988);
and Harry M. Geduld’s anthology cited in
note 1.
3. The fiande was part of the tradition
prior to the first movie, first appearing in T.
13
Russell Sullivan’s play Dr. Jekyll and M K
Hyde (1 888). The dance-hall girl is almost
certainly a borrowing from Wilde’s The
Picture of Dorian Gray (1890). See David
J. Skal, The Monster Show: A Cultural
History of Horror (New York Norton,
1993) 139-41, and Paul M. Jensen (see the
bibliography).
4. In Jekyll & Hyde, the woman is not
Jekyll’s fianch, but the sister of his dead
wife. She and Jekyll are in love, but their
relationship is blocked because she is
trapped in a loveless marriage to a husband
who is away in the navy and because her
father unfairly blames Jekyll for her sis-
ter’s death from pneumonia.
5. The name is that of Robert Louis
Stevenson’s real-life wife, a curious touch
by the filmmaker.
6. Per Schelde, Androids, Humanoids,
and Other Science Fiction Monsters (New
York: New York UP, 1993) 47-50. Schelde
is a good example of an author who only
discusses Mamoulian’s 1931 version. He
defends this focus by saying that the other
films are ‘‘only minimal variations” (12). Is
a film really just a “minimal variation”
when it endorses the crimes of Hyde (as in
Borowczyk’s film) or when Jekyll and
Hyde are supporting characters, as in Mary
Reilly?
7. In addition to Geduld, my major
sources are listed in the bibliography.
BIBLIOGRAPHY
Benayoun, Robert, and Giles Gressard.
Borowczyk: Cineaste onirique: Le cas
&range du D,: Jekyll et Miss Osbourne.
Paris: Collection La Vue, 1981.
Brooks, Tim, and Earle Marsh. The Com-
plete Directory to Prime Time Network
TV Shows 1946-Present. 3rd ed. New
York Ballantine, 1985.
Bushnell, Brooks. Directors and their
Films: A Comprehensive Reference
1895-1990. Jefferson, NC: McFarland,
1991.
Catalogue of Copyright Entries Curnula-
tive Series: Motion Pictures. 2 vols.:
1950-1959 and 1960-1969. Washing-
ton, DC: Library of Congress, 1960,
1971.
Clarens, Carlos. An Illustrated History of
the Horror Film. New York Capricorn
Books, 1967.
DAgostino, Annette M. Harold Lloyd: A
Bio-Biblwgmphy.Westport, CT: Green-
wood, 1994.
Dardis, Tom. Harold Uoyd: The Man on
the Clock. New York Penguin, 1983.
Drew, Bernard A. Motion Picture Series
and Sequels: A Reference Guide. New
York: Garland, 1990.
Engberg. Marguerite. Registrant over
danske film 1896-1914, Bind 11:
1910-1912. Copenhagen: Institut for
Filrnvidenskab, 1977.
 14 JPF&T-Journal of Popular Film and Television

Farinotti, Pino. Dizionario dei film. Milan:
SugarCo, 1990.
Garcia Riera, Emilio, and Fernando
Macotela. La Guia del Cine Mexican0
de la pantalla grande a la televisidn
1919-1984. TizapBn, Mex.: Editorial
Patria, 1984.
Geduld, Harry M. The De3nitive Dr. Jekyll
and MI:Hyde Companion. New York:
Garland, 1983.
Gianakos, Larry James. Television Drama
Series Programming: A Comprehensive
Chronicle. 6 vols. Metuchen, NJ: Scare-
crow, 1978-1992.
Gifford, Denis. American Animated Films:
The Silent Era, 1897-1929. Jefferson,
NC: Dutton, 1990.
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Kessler, Christian. “How You Look at It:
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Stockholm: Tonnheims, 1984.
Lentz, Harris M. Science Fiction, Horror
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ton, 1969.
. A Pictorial History of Horror
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Goble, Alan. The International Film Index
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Hanson, Patricia King. The American Film
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FILMOGRAPHY
1. Dr Jekyll and Mr Hyde (1908, USA)
(d) Otis Turner. (a) Hobart Bosworth. (pc) Selig Polyscope.
Apparently lost, this short film was produced by William N. Selig.
See next entry.
la, A Modem Dr Jekyll(l909, USA)
(d) Unknown. (a) Unknown. (pc) Selig Polyscope.
Other than that it was produced by Selig, there is no credit infor-
mation (and little information of any kind) extant about this lost
film. The only critic who does not regard it as a retitling of the pre-
ceding entry is Phil Hardy in his Science Fiction: The Overlook
Film Encyclopedia. He views it as a separate film, but his only evi-
dence is the title. He also argues that as the 1908 version seems to
have been set at the date of Stevenson’s original story, it could not
have been passed off as “modem.” However, the story was only 30
years old in 1908, and the period sets could have passed as mod-
em, particularly in a short that was probably crudely filmed. More-
over, the word modern might refer to the new medium of film by
which it was presented. On Hardy’s side, it is true that there are
other examples of the same studio releasing two different Jekyll
and Hyde films within a year of each other (see entry nos. 47 and
48 below), but distributors who re-release the same films under
multiple titles are far more common. There is no way to resolve
the point definitively, but without more evidence I see no grounds
for rejecting the standard view that this film is a retitling.
2. Dc Jekyll and Mc Hyde (1908, USA)
(d) Sidney Olcott. (a) Frank Oakes Rose. (pc) Kalem.
A short film. One interesting casting note about this version is
that its leading lady was Gene Gauntier, an early female film pio-
neer who directed a movie called The Grandmother in 1910.
Most books that list film versions of Dr. Jekyll and Mr. Hyde list
only one version for 1908, choosing either this one or no. 1
above, apparently assuming that there could not have been two.
There were indeed two. I cannot find an exact release date for
this version, but it was definitely second. The Selig version
appeared in March 1908. According to Jean Mitry, this film’s
Kalem studio was not even founded until that month.
 Dr. Jekyll and Mr. Hyde
3. Den Skaebnesvangre Opfindelse (1910, Den.) aka Dr. Jekyll and
Mr. Hyde
(d) August Blom. (a) Alwin Neuss. (pc) Nordisk.
A short film. The Danish title means “The Fatal Invention.” Jean
Mitry provides filmographies for both August Blom and Viggo
Larsen, and he credits this film to Larsen, as does Phil Hardy.
One would ordinarily hesitate to challenge Mitry’s authority on
silent film credits, but in this case he is incorrect. Marguerite
Engberg’s meticulous examination of Danish film records shows
that Blom was definitely the director. In their filmographies,
Willis, Geduld, and Kinnard do list Blom as director, though
Kinnard and Willis incorrectly date the film to 1909. Incidently,
this film’s German title was Ein seltsamer Fall, which caused
more confusion. See no. 11 below.
4.The Duality ofMan (1910, UK)
(d) Unknown. (a) Unknown. (pc) Wrench.
A short film.
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5. Dr. Jekyll and Mr. Hyde (1912, USA)
(d) Lucius Henderson. (a) James Cruze (see note below). (pc)
Thanhouser. (v) Kino International, Sinister Cinema.
A short film, and the oldest version that is available on video.
Harry Benham played the father of Jekyll’s fiancee. In A Pictor-
ial History of Horror Movies, Denis Gifford reports that in 1963
Benham claimed to have played Hyde as well, asserting that
Dr. Jekyll and M E Hyde (1920)
15
Cruze only played Jekyll. Gifford gives no source for this anec-
dote, and, more important, Benham’s claim would not have
appeared in any contemporary record. As all the people involved
are now dead, it is almost impossible to confirm. After his exam-
ination of the film, Roy Kinnard concluded that Cruze did play
both roles. My own viewing leads me to conclude the opposite.
There is no way to resolve this claim.
6. Dr. Jekyll and M,:Hyde (1913, USA)
(d) Herbert Brenon. (a) King Baggott. (pc) Imp (Universal). (v)
Sinister Cinema.
A short film, and the first horror film made by Universal Studios
(under their Imp label).
7. D,: Jekyll andMr. Hyde (1913, U K )
(d) Unknown. (a) Unknown. (pc) Kineto-Kinemacolor.
This two-reel short was an early British experiment with color
film. Kinemacolor was an early two-color film process devel-
oped in England by George Albert Smith in 1906 and later pro-
moted by Charles Urban (who bought out Smith’s patents).
Urban sold the American rights to the process to a separate U.S.
company, but his original firm continued to make films to export
to the U.S. market. D. B. Thomas and Robert A. Nowotny list
this film as one of a series that the British firm made and the
American company imported, but there does not seem to be any
extant information about its credits.
8. A Modern Jekyll and Hyde (1913, USA)
(d) Robert Broderick. (a) Unknown. (pc) Kalem.
A short film.
9. D,: Jekyll and Mr. Hyde (1914, USA)
(d) Unknown. (a) Unknown. (pc) Starlight.
A short film.
10. Dr. Jekyll and M,:Hyde Done to a Frazzle’(1914, USA)
(d) Unknown. (a) Charlie de Forrest. (pc) Warner’s.
A short comedy.
1 1. Ein seltsamer Fall ( 1914, Ger.)
(d) Max Mack. (a) See note. (pc) Vitascope.
If one can count 50 minutes as “feature length,” then this lost
movie, whose title means “A Strange Case,” was the first feature-
length version. In his book Horror, Hardy lists Alwin Neuss as
the lead actor, but he seems to have borrowed Neuss from the
cast list of the 1910 Danish film Den Skaebnesvangre Opjindelse
(see no. 3 above), which also bore the German title Ein seltsamer
Fall. Mitry’s cast list for the German film does not mention
Neuss and lists director Max Mack and Richard Oswald as the
main actors. But he does not say which one played the lead, and
I have not found any further information about the cast even in
German language reference books about the silent era.
12. Horrible Hyde (1915, USA)
(d) Howell Hansell. (a) Jerold T. Hevener. (pc) Lubin.
There is some confusion over who directed this short film.
Geduld gives it to Arthur Hotaling, whereas Willis and Kinnard
credit it to Jerold T. Hevener. Mitry (vol. 4)seems to have settled
the issue in favor of Howell Hansell, for whom he provides a
filmography. According to Lauritzen and Lundquist, who also
credit the film to Hansell, Jerold T. Hevener was the lead actor.
Hevener was also a director, which probably explains why some
writers assume that he directed this film as well. Geduld’s listing
of “Jerold T. Homer” as the lead actor is a spelling error.
13. Miss Jekyll and Madame Hyde (1915, USA)
(d) Charles L. Gaskill. (a) Helen Gardner. (pc) Vitagraph.
A short film with the first female variation of the theme.
13a. D,: JekyU and Madam Hyde ( 1917)
Willis lists this title as being of doubtful existence. Geduld is
probably correct to suggest that it is just a mistaken reference to
Miss Jekyll and Madame Hyde. I can find no other reference to
this title.
14. Luke’s Double (1916, USA)
(d) Unknown (see note). (a) Harold Lloyd. (pc) Pathe Phunfilm.
 16 JPF&T-Journal of Popular Film and Television

A one-reel comedy about a man who has a nightmare about his
alter ego after reading D,: Jekyll and M,:Hyde. This was one of
over 60 short films featuring Harold Lloyd as “Lonesome
Luke.” According to the filmographies of Lloyd’s work com-
piled by D’Agostino and Dardis, most of the films (including
this one) are lost, many of them destroyed in a nitrate explosion
at a warehouse in 1943. They were never copyrighted, and they
lack any records of their production credits except in a few
cases. of which this is not one. Mitry states that J. Farrell
McDonald directed the entire series. Although McDonald did
direct at least one installment, Lonesome Luke, Social Gangster
(1915), Lloyd noted in his autobiography his pleasure at being
able to work with McDonald again after an interval caused by
numerous “Luke” films, so clearly McDonald was not a regular
participant. Lloyd credited the direction of his early Pathe shorts
to himself, Hal Roach, Alf Goulding, and G. W. Pratt, but he did
not distinguish credits on a film-by-film basis, and there is no
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(d) Gregory La Cava. (a) Unknown. (pc) LFS.
Produced by William Randolph Hearst, this was the 49th of 53
animated shorts based on Frederick Ban Opper’s “Happy Hooli-
gan” comic strip. Kinnard gives the director’s name as “Bill
Nolan.” Gifford’s American Animated Films: The Silent Era says
that Nolan was an animator on the series who also directed sev-
eral installments, but he does not credit Nolan with this one.
21. D,: Pyckle and M,:Pride (1925, USA)
(d) Percy Pembroke. (a) Stan Laurel. (pc) Standard.
A comic short.
22. Dr. Jekyll and M,:Hyde (1925, USA)
(d) Unknown. (a) Unknown. (pc) Standard.
Because this comic short was made by the same company as the
preceding entry in the same year, Kinnard suggests that it is
“possibly” the same film. Goble and Geduld list it as a separate
movie. I can find no evidence that the film bearing this title is
extant, nor any description beyond its alleged status as a come-

way to do so. dy. Without further information, it seems safer to continue the
14a. D,: Jekyll(l917, USA) usual practice of listing it as a separate film (as Kinnard himself
Willis puts this title on his list of doubtful citations with the nota- does), but the ambiguity remains.
tion “made?”. I cannot find any other reference to it, and it prob- 23. Doctor Jekyll and M,: Hyde (193 1, USA)
ably never existed. (d) Rouben Mamoulian. (a) Frederic March. (pc) Paramount. (v)
15. D,: Jekyll and MI:Hyde (1920, USA) MGWUA Home Video.
(d) John S. Robertson. (a) John Banymore. (pc) Famous Players- Usually regarded as the best version. March won the Academy
Lasky. (v) Kin0 International, Sinister Cinema, Video Yesteryear. Award for best actor. Strangely, the video contains a slightly
This is the most famous and most widely available of the silent abridged version of the film.
versions. Released on 10 April 1920, this version beat the com- 24. D,:Jekyll and M,:Hyde (1932, USA)
peting Pioneer version (no. 16 below) into release by 14 days. (d) William Vance. (a) William Vance. (pc) William Vance.
Both Kin0 International and Sinister Cinema sell videotapes that A short film.
include this version and Lucius Henderson’s 1912 version on the 25. D,: Jekyll’s Hide (1932, USA)
same tape. All the video versions of Robertson’s film lack (d) Albert de Mond. (a) Unknown. (pc) Snappy.
footage that is extant in a print at the EmGee Film Library. See A short film that uses footage from the 1913 version featuring
Jensen for scene-by-scene details of the cuts. King Baggott.
16. D,: Jekyll and MI:Hyde (1920, USA) 26. Sing, Baby, Sing (1 936, USA)
(d) J. Charles Hayden (see note). (a) Sheldon Lewis. (pc) Pio- (d) Sidney Lanfield. (a) Ritz Brothers. (pc) 20th Century Fox.
neer. (v) Sinister Cinema, Nostalgia Family Video. This filmed vaudeville act includes an extended Jekyll and Hyde
Prints of this film have no directorial credit, and there are two routine by the Ritz Brothers that parodies the 1920 film featur-
distinct schools of thought about who the director was. On the ing Barrymore.
one hand, there is Lauritzen and Lundquist’s normally authorita-
tive American Film Index 1916-1920, which credits the film to
British director George Edwardes Hall, a view also asserted by
Alan Goble. These authors do not give a source for the informa-
tion, and Hall seems an odd candidate because he directed two
films in England that were released in 1920: Desire (released
January 1920) and The Temptress (November 1920). Although it
might have been possible for Hall to have gone to the United
States in the intervening period to make Dr. Jekyll (released in
April 1920), that scenario does not seem likely, particularly since
there is a more probable candidate. The stronger position is that
of Patricia King Hanson’s American Film Institute Catalog,
which credits the film to “Charles J.” Hayden. Both Alan Goble
and Brooks Bushnell say that Hayden’s name should be proper-
ly written “J. Charles” Hayden, but, spelling aside, Hanson sup-
ports her position solidly with references to contemporary news
reports about the film’s production, and her view has to be con-
sidered the correct one.
17. Da Jekyll and M,:Hyde (1920, USA)
(d) Unknown. (a) Hank Mann. (pc) Arrow.
A short comedy.
18. Der Januskopf ( 1920, Ger.)
(d) F. W. Murnau. (a) Conrad Veidt. (pc) Decla-Bioskop.
A lost film. Future horror star Bela Lugosi appeared in a sup-
porting role.
19. When Quackel Did Hyde (1920, USA)
(d) Charles Gramlich. (a) Charles Gramlich. (pc) Aywon.
A short comedy.
20. D,: Jekyll and M,:Zip (1920, USA) aka Happy Hooligan in DI: l M,..Hrde (1932)
D~ j e ~ land
Jekyll and M,:Zip
 Dr. Jekyll and Mr. Hyde
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Dr. Jekyll and M K Hyde (1941)
27. The Case ofthe Stuttering Pig (1937, USA)
(d) Frank Tashlin. (pc) Warner Bros. (v) Warner Home Video.
(vd) Porky Pig: Ham on Wry.
An animated short. Geduld lists it as being a Jekyll and Hyde
story.
28. Ds Jekyll and MI:Hyde (1939, USA)
(d) Unknown. (pc) Pixilated Pictures.
A short film of stop-action animation. Geduld includes it twice
on his list as nos. 27 and 67. That Willis, Geduld, and Goble all
list the film without a director’s credit suggests that it may never
have had credits. It is unavailable for viewing.
29. Ds Jekyll and M s Hyde (1940, USA)
(d) Warren Wade. (a) Winfield Hoeny. (pc) NBC.
An NBC television drama originally aired on 4 June 1940.
30. DI:Jekyll and Ms Hyde (1941, USA)
(d) Victor Fleming. (a) Spencer Tracy. (pc) MGM. (v) M G m A
Home Video.
This is the most widely distributed version on video. It was avail-
able for several years prior to the video release of the 1931
Rouben Mamoulian version, which many critics regard as supe-
rior.
3 1. Impatient Patient ( 1942, USA)
(d) Norm McCabe. (pc) Warner Bros. (v) Fox Hills Video, on the
tape Cartoon Parade No. 1.
An animated short in which Daffy Duck meets Dr. Jerkill.
32. Mighty Mouse Meets Jekyll and Hyde Cat (1942, USA) aka
Jekyll and Hyde Cat
(d) Mannie Davis. (pc) Tenytoon. (v) Tenytoon Video.
An animated short.
33. Ds Jekyll and Ms Mouse (1947, USA)
(d) William Hanna, Joseph Barbera. (pc) MGMKJA. (v) on Tom
and Jerry Cartoon Festival. (vd) on The Art of Tom and Jerry,
Vol. 1.
A short, animated cartoon featuring Tom the cat and Jerry the
mouse. This is probably the same film that Geduld puts in 1940
and calls DI: Jekyll and MI: Hyde: Tom and Jerry. There is no
film of that title, and no other cartoon of this subject matter.
34. DI: Jekyll and MI: Hyde (1949, USA)
17
(d) Unknown. (a) Ralph Bell. (pc) CBS.
An episode of the early CBS television series Suspense, which
aired 20 September 1949. See also no. 36 below.
35. El hombre y la bestia (1950, Arg.) aka The Man and the Beast
(d) Mario Soffici. (a) Mario Soffici. (pc) Sono/Azteca.
See also nos. 35a, 45, and 67 below.
35a. I1 Dottor Jekyll(l95 1, Italy) aka Ds Jekyll
(d) Mario Scoffi. (a) Mario Scoffi. (pc) None.
Although it has produced a paper trail in reference books more
elaborate than that left by some of the (genuine) silent versions,
this film does not exist. It is a phantom citation created by a com-
bination of retitling and misspellings. According to Pino Farinot-
ti, the Argentinean film El hombre y la bestia (1950, see no. 35
above) was released in Italy under the name I1 Dottor Jekyll. It
was directed by and starred Mario Soffici. Harris M. Lenz, John
Stewart, and Denis Gifford (in Movie Monsters) all list an Italian
film I1 Dottor Jekyll (1951) directed by and starring “Mario
Scoffi.” Other than the name “Scoffi,” the credits they list are
identical to those of the Argentinean film. At some point in the
filmographical tradition, someone misspelled Soffici’s name as
“Scoffi“ when listing the Italian re-release of his film, creating
an “Italian” film that only exists in English-language reference
books. Other authors who list the film include Nowlan and
Nowlan (as “Ds Jekyll, 1951”), and Geduld, who places it in
1964, citing an extremely confused entry by Willis, who lists the
director as “Guardamagna (Scoffi?)” and the year as either 1951
or 1964. There is no Italian film with the title 11 Dottor Jekyll
made in any year whatsoever.
36. Ds Jekyll and MI: Hyde (1951, USA)
(d) Unknown. (a) Basil Rathbone. (pc) CBS.
An episode of the television series Suspense, but different from
no. 34 above. It aired 6 March 195 1.
37. Son of Ds Jekyll(195 1, USA)
(d) Seymour Friedman. (a) Louis Hayward. (pc) Columbia.
38. Abbott and Costello Meet DI:Jekyll and M s Hyde (1 952, USA)
(d) Charles Lamont. (a) Boris Karloff. (pc) Universal. (v)
MCAAJniversal Home Video.
A comedy.
39. Sada-Kalo (1954, India) aka Shada Kalo, aka Ds Jekyll and Ms
Hyde
(d) Amal Kumar Basu. (a) Unknown. (pc) Basu Mitra.
Geduld gives the director’s name as “Amal Bose.” The above
spelling is from Rajadhyaksha and Willemen’s Encyclopedia of
Indian Cinema, which lists the film in its index but does not offer
a review.
40. Doctor Jerkylls Hide (1954, USA)
(d) Fritz Freling. (pc) Warner Bros. (v) Warner Home Video, on
Sylvester and Tweety ’s Tale Feathers.
An animated short film featuring Sylvester the Cat. See also no.
50 below.
41. Hyde and Hare (1955, USA)
(d) Fritz Freling. (pc) Warner Bros. (v) Warner Home Video. (vd)
Loony Tunes afer Dark.
An animated short featuring Bugs Bunny.
42. Ds Jekyll and M1: Hyde (1955)
(d) Allen Reisner. (a) Michael Rennie. (pc) CBS. (v) Foothill
Video.
A rare episode of the largely forgotten CBS television series Cli-
max, which ran from 1954 to 1958. GoreVidal wrote the screen-
play. Although it deviates from the original story in various
ways, this version is quite interesting for its fidelity to some
aspects of the original Stevenson story that film versions usually
change. It does not invent a fiancee for Jekyll; does not present
Jekyll as a complete saint in opposition to Hyde’s complete evil,
and preserves the structural device of having the lawyer Utterson
uncover the story of Jekyll’s transformation from a missive writ-
ten by Jekyll to be read after his death. The Foothill videotape
includes ads for Chrysler and De Soto cars, which were part of
 18 JPF&T-Journal of Popular Film and Television
the original broadcast on 28 July 1955.
43. Daughter of D,: Jekyll(l957, USA)
(d) Edgar G. Ulmer. (a) Arthur Shields. (pc) Allied Artists. (v)
Key Video.
Gloria Talbott plays the titular daughter, who does not transform
herself in the film.
44. Dr. Jekyll and M,:Hyde (1957, USA)
(d) Unknown. (a) Douglass Montgomery. (pc) NBC.
An episode of the NBC television series Matinee Theatre, which
originally aired 8 March 1957. Gianakos gives the name of the
screenwriter as Robert Esson, but could not locate the name of
the director.
45. La mujer y la bestia (1958, Mex.)
(d) Alfonso Corona Blake. (a) Ana Luisa Peluffo. (pc) Brooks y
Enriquez.
A female variation of the story, with Peluffo in the double role.
The title (“The Woman and the Beast”) is a reference to the 1950
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Argentinean version, El hombre y la bestia (no. 35 above).
46. Le testament du docteur Cordelier (1959, Fr.) aka Experiment
in Evil
(d) Jean Renoir. (a) Jean-Louis Barrault. (pc) RTF/Sofirad/Com-
pagnie Jean Renoir. (v) Video Search of Miami, Foothill Video.
Originally made for television, this did play in theaters. The
director is best known for his Rules of the Game (1939) and
Grand Illusion (1937).
47. The Ugly Duckling ( 1 959, UK)
(d) Lance Comfort. (a) Bernard Bresslaw. (pc) Hammer/Colum-
bia.
A comedy.
48. The Two Faces of D,:Jekyll(1960, UK) aka House of Fright, aka
Jekyll’s Inferno
(d) Terence Fisher. (a) Paul Massie. (pc) Hammer. (v) Columbia
Tristar Home Video.
A more serious Hammer version than the preceding entry.
49. I1 mio amico Jeckyll(l960, Italy) aka My Friend Jeckyll, aka My
Pal DI:Jekyll
(d) Marino Girolami. (a) Ugo Tognazzi, Raimondo Vianello. (pc)
Cinematogratica Marino Girolami/CEI Incom.
A comedy. The story does not involve the usual transformation of
one person into two, but a more complicated scenario in which
Tognazzi’s character’s personality keeps changing because Vianel-
lo’s is taking over his body. I include it mainly because of the title.
50. Hyde and Go Tweet (1960, USA)
(d) Fritz Freling. (pc) Warner Bros. (v) Warner Home Video, on
Sylvester and Tweety ’s Crazy Capers.
An animated short featuring Sylvester the Cat, but different from
no. 40 above.
5 1. The Ordeal of D,: Cordell (1961, USA)
(d) Laslo Benedek. (a) Robert Vaughn. (pc) Hubbell Robinson
ProductiondNBC.
An episode of the NBC television series Thriller, which aired 7
March 1967. Gene Wright lists it as a version of the Jekyll and
Hyde story.
52. The Nutty Professor (1963, USA) aka DI:Jerky11 andM,: Hyde
(d) Jerry Lewis. (a) Jerry Lewis. (pc) Paramount. (v) Paramount
Home Video.
A comedy in which an awkward introvert turns into a brash ladies’
man. Remade as no. 88 below.
53. Paris When It Sizzles (1964, USA)
(d) Richard Quine. (a) William Holden. (pc) Paramount. (v)
Movies Unlimited.
This fantasy about a screenwriter includes a scene in which the
cast acts out a Jekyll and Hyde story from a script that the writer
is working on.
54. The Mud Monster Party (1966, USA)
(d) Jules Bass. (pc) Videocraft International. (v) Embassy Home
Entertainment.
Dr.Jekyll makes a brief appearance in this animated puppet film,
which brings together a group of popular film monsters.
55. And Then There Were None (1966, USA)
(d) Jerry Hopper. (a) Bob Denver. (pc) Gladasya Productions/
UATVICBS. (v) World Beyond Video.
An episode of the half-hour CBS television comedy series Gilli-
gan’s Island, which aired 1 December 1966. Series hero Gilligan
dreams he has become Mr. Hyde and is murdering his fellow cast-
aways without realizing it.
56. The Strange Case of D,: Jekyll and M,:Hyde (1968, USA/Cana-
da)
(d) Charles Jarrott. (a) Jack Palance. (pc) Dan Curtis Produc-
tions/CBC/ABC. (v) Thriller Video, MPI Home Video.
One of a series of feature-length television adaptations of horror
classics produced by Dan Curtis, this aired on ABC television on
7 January 1968, and it was nominated for an Emmy Award for
“Outstanding Dramatic Program.” Note that Thriller Video
released it on videotape in two different forms. Beware of the
“Elvira Presents” version, in which Elvira, Mistress of the Dark
(Cassandra Peterson), repeatedly interrupts the film to make jokes
about it.
57. Pact0 diaboloco (1968, Mex.) aka Jekyll and Hyde: Satanic Pact
(d) Jaime Salvador. (a) David Carradine, Miguel Angel Alvarez.
(pc) Filmica Vergara. (v) Video Search of Miami.
Carradine plays a doctor who transforms himself into Alvarez’s
character in this loose variation.
58. The Comic (1969, USA)
(d) Carl Reiner. (a) Dick Van Dyke. (pc) Columbia. (v) Colum-
bia Tristar.
This film about a silent-movie comedian includes a self-con-
tained film-within-a-film, Dr. Jerk and M,:Hyde, which is a par-
ody of silent versions of the Jekyll and Hyde story.
59. I, Monster (1970, UK)
(d) Stephen Weeks. (a) Christopher Lee.(pc) Amicus. (v) Cine-
fear Video, Video Search of Miami.
“Dr. Marlowe” becomes “Mr. Blake.”
60. D,: Jekyll y el Hombre Lobo (1971, Spain) aka D,: Jekyll and
the WolfMan, aka D,: Jekyll vs. The Werewolf
(d) Leon Klimovsky. (a) Paul Naschy [aka Jacinto Molina]. (pc)
Arturo Gonzalez. (v) Midnight Video, Sinister Cinema.
This is the sixth of 12 films in which Molina plays a werewolf
named Waldemar Daninsky. Jack Taylor plays Dr. Jekyll, who
experiments on Daninsky’s human form, changing him (and not
Jekyll himself) into Mr. Hyde. Later Daninsky changes further,
into his more familiar werewolf form. Geduld includes this film
twice on his list, as nos. 58 and 60.
6 1. D,: Jekyll and Sister Hyde ( 197 1, UK)
(d) Roy Ward Baker. (a) Ralph Bates (Jekyll), Martine Beswick
(Hyde). (pc) HammerEMI. (v) HBO Home Video.
This is the first of several films that would feature a male Jekyll
changing into a female Hyde. See also nos. 62,82, and 84 below.
61a. Willis lists D,: Jekyll and Miss Hyde and D,: Jekyll and Mrs.
Hyde as films whose productions were announced for 1971.
Geduld included them on his list, but I can find no evidence that
they actually exist. Lots of films are announced that never get
made.
62. The Adult Version of Jekyll and Hide (1971, USA)
(d) Lee Raymond, B. Ron Elliot. (a) Jack Buddliner. (pc) Enter-
tainment Ventures. (v) Something Weird Video.
“A tale of hex and sex rated X,” said one poster. The plot involves
a man stealing Jekyll’s notebooks and using them to change into
a female “Ms. Hide.” Lee Raymond completed the film, which
was begun by B. Ron Elliot. Geduld includes this film twice on
his list, as nos. 50 and 61.
63. D,: Sexual and M r Hyde (1971, USA)
(d) Tony Brzezinski. (a) Unknown. (pc) Unknown.
Unavailable for view. If it is not a pornography film, then it is
probably a softcore sex film.
 Dr. Jekyll and Mr. Hyde
64. WithApologies to Mr. Hyde (197 1, USA)
(d) Jeannot Szwarc. (a)Adam West. (pc) Universal TVNBC. (v)
World Beyond Video.
A segment of an episode of the NBC television series Night
Gallery, which aired on 29 September 1971. Two other unrelat-
ed stories were included in the same one-hour episode.
65. The Man With Two Heads (1972, USA) aka Dr Jekyll and Mr.
Blood
(d) Andy Milligan. (a) Denis de Marne. (pc) ConstitutionNilliam
Mishkin Pictures. (v) MidnightlSelect-A-Tape.
Geduld includes this film twice on his list, as nos. 54 and 63.
66. The Jekyll and Hyde Portfolio (1972, USA) aka Jekyll & Hyde
Unleashed
(d) Eric Jeffrey. (a) Sebastian Brock. (pc) Xerxes. (v) European
Trash Cinema, Video Search of Miami.
67. El hombre y la bestia (Mex., 1972)
Downloaded by [The University of Manchester Library] at 08:19 29 October 2014
(d) J u l i h Soler. (a) Enrique Lizalde. (pc) Estudios Amtrica.
This is a Mexican remake of Mario Soffici’s 1950 Argentinean
film of the same title. (See no. 35 above.)
68. DI:Jekyll and MI:Hyde (1 973, USA)
(d) David Winters. (a) Kirk Douglas. (pc) NBC. (v) Sony Video,
Columbia Tristar Video.
A feature-length musical (!) television special, which aired orig-
inally on NBC, 7 March 1973.
69. The Switch (1974, USA) aka Oversexed
(d) Joe Sarno. (a) Veronica Parish. (pc) Magenta Films.
A softcore film in which Dr. Shirley Jekyll changes to Ms. Sher-
ry Hyde. Sarno made a large number of low-budget erotic films
in the 1960s and 1970s.
70. Dr Black, Mr. Hyde (1975, USA) aka The Watts Monster
(d) William Crain. (a) Bernie Casey. (pc)Dimension Pictures/Hyde
Productions. (v) United Home Video, VCI Home Video.
This blaxploitation version features a black “Dr. Pride” changing
into a white killer.
71. Dr. Jekyll’s Dungeon of Death (1979, USA) aka 0,: Jekyll’s
Dungeon of Darkness
The Nutty Professor (1963)
19
(d) James Wood. (a) James Mathers. (pc) New American/
Rochelle/Hyde Productions. (v) Wizard Video, Magnum Enter-
tainment.
72. Dottor Jekyll e gentile signora (1979, Italy) aka D,: Jekyll
Likes Them Hot, aka Dr. and Mrs. Jekyll, aka D,: Jekyll Jr
(d) Steno [aka Stefan0 Vanzina]. (a) Paolo Villagio. (pc)
Medusa. (v) Search of Miami.
A comedy in which Dr. Jekyll tries to transform his grandson
(Villagio) into Hyde.
73. Dr. Heckyl and M,: Hype (1980, USA)
(d) Charles B. Griffith. (a) Oliver Reed. (pc) Cannon. (v)
Paragon Home Video.
A comedy.
74. The Strange Case of DI:Jekyll and M,: Hyde (1980, UK)
(d) Alastair Reid. (a) David Hemmings. (pc) BBC.
Originally a BBC television drama, this aired in America as two
episodes of the PBS series Mystery in January 1981.
75. Le cas &range du D,: Jekyll et Miss Osbourne (1981, Fr.) aka
The Strange Case of D,:Jekyll and Miss Osbourne, aka DI:
Jekyll and Miss Osbourne, aka Bloodlust, aka DI: Jekyll et les
femmes, aka D,: Jekyll and His Women
(d) Walerian Borowczyk. (a) Udo Kier (Jekyll), Gtrard Zalcberg
(Hyde). (pc) Whodunit/Allegro/Multimedia. (v) Midnight
Video, Video Search of Miami, Cinefear Video, Top Video
(Canada), Toshiba Video (Japan).
Mr. Hyde triumphs! Critics have offered a range of dates for this
film. Christian Kessler lists the date as 1979, Phil Hardy as
1981, and Rent Prtdal as 1982. Benayoun and Gressard’s
Borowczyk: Cineaste onirique, a book that consists mainly of
stills from the film, confirms the 1981 date. One has to think
that its own publicists would know when it was made. The
film’s explicit sexual content has been widely censured and re-
edited, and it exists in almost as many different running times as
it has video distributors. D,: Jekyll et les femmes is the title most
likely to appear in reference books and on prints of the film,
whatever it may say on the videobox.
76. Jekyll and Hyde . . . TogetherAgain (1982, USA)
(d) Jerry Belson. (a) Mark Blankfield. (pc) Paramount. (v) Para-
mount Home Video.
A comedy.
77. Strannyar istoriyar doktora Dzehila i mistera Khaida (1987,
USSR) aka The Strange Case of D,: Jekyll and MI: Hyde
(d) Alexander Orlov. (a) Innokenti Smoktunovsky (Jekyll),
Alexander Feklistov (Hyde). (pc) Mosfilm.
78. El Aullido del Diablo (1988, Spain) aka Howl of the Devil
(d) Paul Naschy [aka Jacinto Molina]. (a) Paul Naschy [aka Jac-
into Molina]. (pc) Freemont Nash International. (v) Video
Search of Miami (Spanish with subtitles), Midnight Video
(unsubtitled Spanish).
The child of a murdered horror actor imagines conversations
with the characters that his father played on film. The plot
allows Spanish horror veteran Molina to appear in a variety of
his former roles, including Mr. Hyde (see no. 60 above), and
includes the eleventh appearance of the werewolf Waldemar
Daninsky.
79. Edge of Sanity (1988, UKMung.) aka Dr. Jekyll and M,: Hyde:
A Journey into Fear
(d) Gerard Kikoine. (a) Anthony Perkins. (pc) Allied
Visioflungarofilm. (v) Virgin Vision.
An attempt to combine the Jekyll and Hyde story with the his-
torical career of Jack the Ripper. It exists in both R-rated and
unrated forms, and (inexplicably) it is one of the most widely
distributed versions on video.
80. The Strange Case of D,:Jekyll and Mr Hyde (1989, USA)
(d) Michael Lindsay-Hogg. (a) Anthony Andrews. (pc) Show-
time/rhink Entertainment. (v) Cannon Home Video.
 JPF&T-Journal of Popular Film and Television
Downloaded by [The University of Manchester Library] at 08:19 29 October 2014
Mary Reilly (1996)
Made for cable television by the director of the Beatles’ Let It
Be (1 969), this aired originally as an episode of the Showtime
network’s Nightmare Classics series.
8 I . Jekyll& Hyde (1990, UK)
(d) David Wickes. (a) Michael Caine. (pc) David Wickes TV
LTDLondon Weekend TelevisionKing Phoenix Entertainment.
(v) Vidmark Entertainment.
Although a British production, this was obviously made for
export for U.S. television, as its format is clearly designed to
allow for American-style commercial breaks. It aired in the Unit-
ed States on ABC in 1990. Silver and Ursini list the title as Jekyll
and Hyde and the date as 1989, but the on-screen title uses an
ampersand, and the film carries a 1990 copyright.
82. DK Jeckel and Ms. Hyde (1990) aka The Strange Case of DK
Jeckel and Ms. Hyde
(d) Michael Craig. (a) Mike Homer (Jeckel), Ashlyn Gere
(Hyde). (pc) and (v) Las Vegas Video.
A hardcore pornographic video in which Homer changes gen-
ders into Gere. Rimmer and Riley describe it as a comedy.
83. The Pagemaster (1994, USA)
(d) Maurice Hunt (animation) and Joe Johnston (live action).
(pc) 20th Century Fox. (v) Fox Video.
This children’s film has a live-action child (Macauley Culkin)
interacting with various animated literary characters, including
Dr. Jekyll and Mr. Hyde.
84. Dx Jekyll and Ms. Hyde (1995, USA)
(d) David Price (a) Tim Daly (Jekyll), Sean Young (Hyde). (pc)
Savoy Pictures. (v) HBO Savoy Video.
A comedy involving gender-switching transformations.
85. Mixed Breeds (1995, USA)
(d) Ken Harrison. (a) Joe Nemmers. (pc) Big Feats! Entertain-
mentPBS. (v) See note.
This episode of the half-hour PBS television series Wishbone
retells the Jekyll and Hyde story in a short version for juvenile
viewers. The series features the talking dog Wishbone, who
guides young viewers through various stories derived from
works of literature. Polygram Video has recently begun releasing
Wishbone episodes on video, but this episode has not yet
appeared at this writing.
86. Brain Meets Brawn (1995, USA)
(d) Michael Gerard. (pc) Amblin EntertainmenWarner Brothers
Television.
A nine-and-a-half-minute segment of an episode of the WB Net-
work’s animated television series Pinky and the Brain. The series
is about two laboratory mice, who are continually plotting to rule
the world. In this episode, they are mice in Dr. Jekyll’s lab. After
the police haul away Mr. Hyde, the usually analytical mouse
named Brain decides to take the potion himself as part of his lat-
est plan for world conquest.
81. Mary Reilly (1996, USA)
(d) Stephen Frears. (a) John Malkovich. (pc) Tristar Pictures. (v)
Columbia Tristar Video.
The story focuses on Mary Reilly (Julia Roberts), a maid of Dr.
Jekyll. Although repeatedly scheduled for release in 1995, the
film did not actually appear until February 1996 and carries a
1996 copyright.
88. The Nutty Professor (1996, USA)
(d) Tom Shadyac. (a) Eddie Murphy. (pc) Universal. (v)
MCAlLTniversal Home Video.
Jerry Lewis is listed as executive producer of this remake of his
1963 film. See no. 52 above.
Additional Titles
A. The Catalog of Copyright Entries records that the 3 April 1955
episode of The Bob Cummings Show (Laurel Productions/NBC)
had the title “Dr. Jekyll and Mr. Cummings,” and that the 21
November 1962 episode of The Many Loves of Dobie Gillis (20th
Century FodCBS) had the title “Dr. Jekyll and Mr. Gillis.” Both of
these programs were sitcoms that were not known for containing
fantasy elements, and the titles may have simply used “Dr. Jekyll”
as a metaphor. As I lack access to either the programs or their plot
summaries, it seems prudent to leave them off the main list.
B. Salvatore J. Parlotto in Films Ex Libris (1980) mentions a five-
minute animated short, M,: Hyde, directed by Fred Wolf for
Murakami-Wolf Films. He does not give the film’s date. It is
extremely difficult to find information about animated shorts that
are not produced by a major studio, and this work is simply not
listed in any other reference work that I have consulted.
C. The June 1996 issue of Fangoria contains an announcement of the
production of a film called The Strange Case of D,:Jekyll and M K
Hyde: A Rock ‘n’ Roll Musical, with Kevin McCarthy as the
announced star. If made, the film will deserve an entry on the main
list, but such announcements do not invariably translate into a
completed film.
CHARLES KING is a Ph.D. candidate in history at the University
of Chicago. He is the author of several articles on film as well as on
ancient European and Central Asian history.