Feddit UK

cross-posted from: https://feddit.uk/post/3800489

Hammer Horror returns with a genderflipped take on Robert Louis Stevenson's iconic novel, starring Eddie Izzard as a leading figure of the pharmaceutical industry with a dark secret.

In a delicious example of nominative determinism, British horror powerhouse Hammer Film Productions was recently acquired by theatre producer John Gore. He will oversee a revival of schlocky, low-budget British horror – starting with a new adaptation of Robert Louis Stevenson’s 1886 Gothic novella Strange Case of Dr Jekyll and Mr Hyde. It is well-worn territory for the studio, including Hammer staple Terence Fisher’s The Two Faces of Dr. Jekyll (1960), and Dr. Jekyll and Sister Hyde (1971) directed by Roy Ward Baker.

The latter version rode on a wave of gender-swapped horror remakes, playing to the suspense potential of an oh-so-innocent female secretly veiling the monster inside. As with bigger-budget horror movies from Hitchcock’s Psycho to De Palma’s Dressed to Kill, Dr. Jekyll and Sister Hyde played to the most terrifying trope of all – the man whose alter-ego is a woman. It’s important to have all of this in mind when watching Joe Stephenson’s Doctor Jekyll, which goes one step further than previous iterations by changing the genders of both Jekyll and Hyde, now Nina and Rachel.

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Doctor Jekyll revives a missing element of British cinema – you can see the walls shaking, the cheapness of the props, the hamminess of the acting. But that’s what Hammer is all about, the sort of horror that has you laughing one minute and throwing your popcorn in the air in fright the next. Izzard also subverts the fear of gender that has long haunted horror cinema by both playing to and away from the ongoing ‘trans scare’. It looks like Hammer has returned from the dead.

Hammer Horror returns with a genderflipped take on Robert Louis Stevenson's iconic novel, starring Eddie Izzard as a leading figure of the pharmaceutical industry with a dark secret.

In a delicious example of nominative determinism, British horror powerhouse Hammer Film Productions was recently acquired by theatre producer John Gore. He will oversee a revival of schlocky, low-budget British horror – starting with a new adaptation of Robert Louis Stevenson’s 1886 Gothic novella Strange Case of Dr Jekyll and Mr Hyde. It is well-worn territory for the studio, including Hammer staple Terence Fisher’s The Two Faces of Dr. Jekyll (1960), and Dr. Jekyll and Sister Hyde (1971) directed by Roy Ward Baker.

The latter version rode on a wave of gender-swapped horror remakes, playing to the suspense potential of an oh-so-innocent female secretly veiling the monster inside. As with bigger-budget horror movies from Hitchcock’s Psycho to De Palma’s Dressed to Kill, Dr. Jekyll and Sister Hyde played to the most terrifying trope of all – the man whose alter-ego is a woman. It’s important to have all of this in mind when watching Joe Stephenson’s Doctor Jekyll, which goes one step further than previous iterations by changing the genders of both Jekyll and Hyde, now Nina and Rachel.

...

Doctor Jekyll revives a missing element of British cinema – you can see the walls shaking, the cheapness of the props, the hamminess of the acting. But that’s what Hammer is all about, the sort of horror that has you laughing one minute and throwing your popcorn in the air in fright the next. Izzard also subverts the fear of gender that has long haunted horror cinema by both playing to and away from the ongoing ‘trans scare’. It looks like Hammer has returned from the dead.