Volume II: Filmography Volume II: Filmography
January 16, 1912 (Tuesday)
Length: 1 reel
Character: Drama
Scenario: From Thomas Russell Sullivan's stage adaptation (with a romantic story added) for Richard Mansfield (who produced it) of Robert Louis Stevenson's story of the same name
Cast: James Cruze (Dr. Jekyll/Mr. Hyde), Harry Benham (Mr. Hyde), Florence LaBadie (his sweetheart), Marie Eline (little girl who is knocked down by Mr. Hyde)
Notes: 1. Film historian Clark Wilkinson, who was one of Harry Benham's close friends in the later years of Benham's life, informed the author that Harry Benham stated that he had played the role of the crazed Mr. Hyde in several scenes, because it was easy to do, as Hyde was made up in disguise, and as he and James Cruze were of about the same build. Benham said that this simplified the production of the film, although all of the credits went to Cruze, who was named as playing both parts. 2. An article in The Moving Picture News, January 6, 1912, gave the release date erroneously as January 11, 1912.
ARTICLE, The Moving Picture News, January 6, 1912:
"We have long known that Thanhouser had designs on Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde, and therefore were not surprised to learn of its scheduling on that producer's list of 'Greatest January' releases. The day is Tuesday, January 11. The production is made in a single reel, but the Thanhouser offices announce one, three, and eight-sheet lithos for it since it is essentially a feature picture. This 'paper' is obtainable at any Sales Company exchange. The present production of Dr. Jekyll and Mr. Hyde is not one that is calculated to inspire horror or dread in the spectator. Of course, much appears that will convey emphatically the terrible change that the drug wrought in Stevenson's wonderful character, but the emphasis is made with a finesse that is typical of the New Rochelle manufacturer. The picture will show how the evil in Jekyll's nature obliviated the good, and will renew attention in the fine problem that Stevenson presents in this famous story."
SYNOPSIS, The Moving Picture News, January 6, 1912:
"Dr. Jekyll, a young physician, is possessed of the idea that medicine can affect the soul as well as the body, and has many discussions with his friend Lanyon, a doctor of the old school. Jekyll continues to experiment in secret, and finally his efforts are crowned with success. He discovers a mixture that brings out all the bad in his nature, and another that will act as an antidote. But when he stands forth in his evil guise, Jekyll is horrified. He is such a wicked, repulsive creature that even the interests of science are lost sight of; and he decides to bury his discovery from everyone, realizing that it does not pay physicians or anyone else to bring out the evil that is in one. The doctor finds, however, that it is easy to start evil doing, but not always possible to accomplish reform. The wicked genius that he brought to the surface, simply in the interests of science, returns at intervals to plague him. And in those stages of existence the courtly, polished, tender-hearted Dr. Jekyll becomes Mr. Hyde, a monster who is feared and hated.
"By the aid of his medicine, Dr. Jekyll is able to drive Mr. Hyde away, but as the change often takes place at times when he is far from his office, he is unable to mix the drug that restores him to a rational being again. At these times he lives in wretched lodgings, under the name of Mr. Hyde, and pays secret visits to the home of Dr. Jekyll. The latter's friends are surprised that the courtly doctor should have such an intimate, but he sadly disregards their remonstrances. For he alone knows that Dr. Jekyll cannot ever be rid of Dr. Hyde. Dr. Jekyll loves the vicar's daughter, and the love is returned. While calling upon her one day the change in identities comes upon him, and he hastily excuses himself to his fiancée. But as he passes out of the grounds he becomes Mr. Hyde, the man who tortures little children, and is a hater of all mankind. He returns to the girl, not as a suitor, but intending to be her slayer.
"The vicar hears his daughter's cries and gallantly runs to her aid. The feeble old man, however, is no match for the maniac Hyde, and is killed. Hyde flees, safe for the time being. When Dr. Jekyll is restored to himself his grief is profound. His life is forfeited, his happiness ruined. And at intervals growing briefer and briefer, the demon Hyde asserts his mastery. An accident deprives the doctor of the medicine that restores him to the Jekyll existence. He locks himself in his room, ordering his servant, through the barred doors, to bring him certain drugs. The servant, who loves Jekyll, does not recognize the voice of Hyde. He runs off and calls assistance, believing that the kindly doctor has been slain by Hyde, the man the servant hated. The police arrive and Hyde is commanded to open the door in the name of the law. He is unable to restore himself to the Dr. Jekyll existence. As Hyde, his life is forfeited, and the wretched man ends his life with poison, just as the doors crash in, and the police enter, too late to save him for the gallows."
REVIEW, The Morning Telegraph, January 21, 1912:
"It is a dramatic and unforgettable production which the Thanhouser Company has made in its filming of Robert Louis Stevenson's famous story. With all of modern-day photographic science to call upon and with the care maintained in the studio of a ripened film maker it would be strange were the result not notable. No story of modern times created more comment and none has been more widely used in stage and kindred presentations. The original is closely followed in this production, the tale being so familiar that its repetition would be a waste of space. It is admirably acted, double exposure and other tricks of the camera effecting the changes of the character of Dr. Jekyll to Mr. Hyde, and vice versa, in a way quite impossible in stage presentations. The Thanhouser Company should realize many fold on the expense of the production, and though not a child's play it is well worth the viewing by adults, whether familiar with Stevenson's novel or not."
REVIEW, The Moving Picture World, January 27, 1912:
"There have been several other pictures of Stevenson's great novel. It offers one of the most attractive themes to picture makers, because of the effectiveness with which the substitution of Jekyll for Hyde and vice versa can be accomplished. This is a remarkable portrayal of the situation. It is played very acceptably and gives a heart gripping feeling of wonder as we see the picture alternate between terror and romance, romance that is wild with all regret, and terror that reaches the depth in our knowledge of evil. The picture is more effective, in its own way, than any of the others that this reviewer has seen; because its idea seems to be merely to bring out this fearful contrast. It doesn't tell so much of the story as the others. Exhibitors will make no mistake in using this as a special attraction and in advertising it as an unusually strong production."
REVIEW, The New York Dramatic Mirror, January 24, 1912:
"The cleverness with which this weird tale of Robert Louis Stevenson has been adapted to picture is admirable and makes a wonderfully gripping film of dramatic intensity and interest. In making the change from one character to the other the actor, of course, had the advantage of the motion picture camera before which to make his change, but his work in this film is a thoroughly artistic achievement and one of great force and merit. The manner in which the production is put on also adds much quality to the film as a whole. After discovering the fluid that will transform him from his better nature to his evil self, he is prone to abuse the discovery by too frequent use and thus finds himself turning into the grosser character without any volition or administering of the drug. When the last portion of the drug is gone and he is about to be discovered, knowing that he must be found and must live forever in his evil character, he takes a dose of poison and dies. These last scenes are remarkably well played."
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Copyright © 1995 Q. David Bowers. All Rights Reserved.