The world premiere of Doctor Jekyll at Frightfest 2023 (which I was able to attend) began with director Joe Stephenson announcing he was about to go into a meeting to find out whether Hammer would still be producers on the movie. By the end of the screening, it was confirmed that Hammer were back (again) and ready to launch with this new take on a story that has been filmed continuously since the beginning of the twentieth century. Perhaps as a consequence of such background uncertainties, the cinema release for Doctor Jekyll felt muted with Hammer no doubt hoping it will now find its audience upon release on digital.
And I share those hopes because it was one of my favourite horror films from last year and it has held up on rewatch. The centre of attention is Eddie Izzard in the titular role and she is on top form. This interpretation of the character (here called Dr Nina Jekyll) as a trans neuroscientist who is ferociously intelligent and aloof suits Izzard to a tee, who nonetheless explores new territory as a horror villain. Her performance is slippery and untrustworthy as it soon becomes difficult to know when she is Jekyll and when she is Hyde. I only hope this encourages her to explore more of these sort of roles as she could easily sit among the greats from this performance alone.
If Hammer continues with films of this quality, its future looks very promising indeed.
While Izzard grabs the headlines, Scott Chambers proves a more than capable foil and even manages to steal several scenes from Izzard as her new hired help, Rob. While he had worked with Stephenson previously on Chicken, Chambers has also built up his own horror back catalogue as director and producer, most notably Winnie the Pooh: Blood and Honey. A familiarity with the genre and clear willingness to lean into the outlandish side of horror pays dividends here as Chambers gives a performance that easily slips between realism and melodrama.
The rest of the cast are also on the same page with particular praise to Lindsey Duncan giving an understated camp performance as Jekyll’s assistant and Robyn Cara as Maeve, as the mother of Rob’s child who puts Rob’s new job in jeopardy. Maeve’s role is particularly interesting as she represents how the outside world intrudes on Jekyll’s sheltered life in her opulent mansion. With Rob being threatened from inside and outside the house, the film offers plenty of surprises over its ninety minutes.
The house itself is a gorgeous location and encapsulates how the film has a modern aesthetic with old roots. Its opening credits are the most obvious throwback to classic Hammer, in its font and blood-red colouring, while Blair Mowat’s score is grandiose and thrilling, unapologetically ostentatious as a horror score. Yet, the cinematography isn’t as overly flashy and keeps things grounded. For all of these seemingly clashing tones, it feels like a proper reinvention of previous Hammer films which at their best would play the horror straight but unafraid to have fun with its material. If Hammer continues with films of this quality, its future looks very promising indeed.
Doctor Jeykll (2023) is out now on on Digital Platforms via Hammer Films
