If Robert Louis Stevenson, awakening from the nightmare which spawned his novel The Strange Case of Dr Jekyll and Mr Hyde, had been granted a vision of the legion of cinematic emetics his book would ‘inspire’, I suspect he’d have thrown his notebook to the floor, slid back under the sheets and vowed to never again eat strong cheddar before retiring.
However, we have Allied Visions’ Edge of Sanity as testament that such was not the case, with Anthony Perkins drafted in to essay the role of the deranged doctor. Intriguingly, the script is credited to J P Felix and Ron Raley, with no mention of the original source, though judging from the final result, this may be out of respect for the dead.
The core of Stevenson’s novel is its anthromorphosis of Victorian society, the Jekyll / Hyde split holding a mirror to the hypocrisy of the privileged few who preached morality in the daytime and spent their nights frequenting music halls and brothels. Its subsequent stage adaptation by the American actor Richard Mansfield struck a deep chord in a community then being terrorised by the Whitechapel murderer immortalised as ‘Jack the Ripper’, a relevance not lost on the makers of this movie.
What Edge of Sanity chooses to do, however, is to forge a direct historical link between the murders of autumn 1888 and the fictional antagonist of a novel published two years earlier. By dubbing the murderous alter-ego ‘Jack Hyde’, it attempts to cash in on the interest rekindled by last year’s centenary and at the same time legitimise its sado-sexual excesses; needless to say, it fails on both counts.
Anthony Perkins tackles his dual role with only a modicum of make-up (arguably the film’s single merit), playing the Hyde persona as a close relative of the homicidal priest he portrayed in Ken Russell’s excellent Crimes of Passion. This time, unfortunately, Perkins is allowed to go completely over the top and thus disastrously undermines his character’s credibility. His decision to take this course might be a conscious attempt to emphasise the difference between the mild-mannered workaholic Jekyll and his amoral doppelgänger, but it’s just as likely to be another coffin nail in director Gerard Kikoine’s reputation — particularly when Glynis Barber (as Elizabeth Jekyll) is allowed to be just as wooden as Kim Cattrall was in Kikoine’s previous genre effort, the dismal Mannequin.
Even more self-destructive that the erratic performances on screen is the film’s reliance on softcore titilation, underlined by Valerie Lanee’s bizarre costume designs, which totally eschew historical accuracy and opt for a cross between Ann Summers and Cyndi Lauper, decorated with more crucifixes than the Vatican. At some points, it out-Russells Ken himself, no mean feat but no reason for anyone to bother tracking this film down, either, unless you’re an s&m junkie. And if you are, I doubt you’ll find this dressed-up slasher yarn any more to your taste than I did.