There's no monstrous other in this story but an evil self, embodied by Fredric March in a high-wire, Oscar-winning performance. Miriam Hopkins, as Hyde's terrorized object of affection, cabaret singer Ivy, is one of early Hollywood's most evocatively performed emblems of sexual victimization. And Mamoulian invests the film with so much visual flair that the limitations of the early sound recording barely register.
Michael Koresky
October 7, 2013