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Critics reviews

DR. JEKYLL AND MR. HYDE

Rouben Mamoulian United States, 1931
We finally see Jekyll (ourself) in the mirror... It's much like Robert Montgomery's later POV usage in the impressive Lady in the Lake (which was used entirely throughout) but Mamoulian's technique is much more seamless – a purer integration of camerawork and special effects with story and theme, and one of the greatest synthesis of style and substance in all of cinema.
October 15, 2016
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Through Miriam Hopkins's sex appeal as the impoverished object of Jekyll and Hyde's affections, the lure of sensationalism paves way for the terror of abusive relationships, implementing a moral foundation more indelible and effective than any censor's invention.
April 20, 2016
The description "a phenomenon of style" will do quite nicely. In addition to being an emotionally taxing experience, Mamoulian's film is an inventory of just about everything that the cinema could do in the year 1931, quite a lot of which still outlines its capabilities today.
November 6, 2014
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.
October 7, 2013