Dr. Jekyll and Mr. Hyde (John S. Robertson, 1920). This is the fourth film I have watched in "My Letterboxd Season Challenge 2019-20", "A 33 week long challenge where the goal each week is to watch a previously unseen feature length film from a specified category." Week 4 is called "Horrors Beyond Words Week":
With this week's challenge, we see how filmmakers were able to terrify audiences with nothing but imagery (and maybe a little score). Be on the lookout for some fascinating early film making techniques present within needed to make a successful horror flick without words.
This week's challenge is to watch a previously unseen silent horror film. Paul D's list can help you get started.
Right from the start, there were problems. The print was crappy (I watched on Amazon), the score was crappy. (The movie is in the public domain.) The story still intrigues, but the film didn't linger enough ... you got Jekyll, you got Hyde, you got Jekyll, you got Hyde. The theme of good and bad sides of the same person was always there, but for me, it didn't seem all that powerful.
John Barrymore was excellent, although you have to accept that it requires skilled overacting to portray the transformation from Jekyll to Hyde without trickery. (There is trickery, but the initial scene shows what I mean.)
The cast included a couple of interesting actors. Louis Wolheim was famous for having his face smashed during a college football game, making him unmistakable in his later career as an actor. And Nita Naldi's brief career was kick-started with her role here as the "bad girl". She is very effective. Naldi famously posed nude for pin-up artist Alberto Vargas, and is reported to have introduced herself to her Blood and Sand co-star Rudolph Valentino with "Howdy, Rudy! Wanna feel my tits?"
Barrymore was known as "The Great Profile", and sure enough, we get plenty of profile shots of the master throughout Dr. Jekyll and Mr. Hyde. This isn't where I'd start if I were introducing Barrymore to newcomers ... I might go with Dinner at Eight, although that is admittedly an ensemble piece.
Asylum of Darkness (Jay Woelfel, 2017). A few weeks ago, I watched an awful movie called Demonicus. Thursday, the director of that movie, Jay Woelfel, left a comment:
Hello, Steven, I am Jay Woelfel, Demonicus was a work for hire that was re-edited before release without my involvement. If you, or anyone else, is interested in me and my films where I really had some control you can find out much about me on www.jaywoelfel.com. My most recent film came out in 2017/2018 and is named ASYLUM OF DARKNESS.
I was delighted to hear from him, and decided to watch Asylum of Darkness, which you can stream on Amazon. Woelfel deserved a chance to show what he could do with his own project.
Asylum of Darkness is a vast improvement on Demonicus. It featured one of the last performances by the late Richard Hatch. The film was shot in 35mm, which gave it not just a professional look, but the look of the kind of pre-digital horror movies it replicates. There are good makeup effects, and plenty of gore ... and by "plenty", I mean plenty.
Woelfel is up to something here ... I have no idea what, but he has a vision, and he pulls it off. It becomes one of those movies that isn't for me, but which probably accomplishes what the film maker set out to do. The plot is completely confusing, and only partly explained by the insanity of the central character. The acting is OK ... in fact, kudos to them, because the need for confusion means they have little to grab onto. It's hard to establish a character when the person you are playing changes every few minutes.
I'm glad I got to see Woelfel's work in a different, non-Demonicus, light. And if you are a fan of gory, good-looking but nonsensical horror, I think you'll like Asylum of Darkness.