Dr. Jekyll and Sister Hyde
Director: Roy Ward Baker
Writers: Brian Clemens. Allegedly based on the novel Dr. Jekyll and Mr. Hyde by Robert Luis Stevenson.
Cast: Ralph Bates, Martine Beswick, Gerald Sim, Lewis Fiander, Susan Brodrick, Dorothy Alison, Ivor Dean, Philip Madoc, Paul Whitsun-Jones, Tony Calvin
Overview
A gory retelling of The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson, the Hammer Horror film Dr. Jekyll and Sister Hyde inserts numerous transphobic elements into the classic tale and also uses the trope of female transgender villains as thieves of womanhood. The story also blends bits of history, such as references to the Jack the Ripper murders in addition to including the characters Burke and Hare.
Synopsis
Dr. Jekyll (Ralph Bates) has reached a point in his research where he believes that he can find a cure for most of the common disease and ailments that plague mankind. The catch is that he also realizes that it will take him many decades to complete this research. To solve this problem, he begins harvesting female hormones from deceased female corpses and begins utilizing two thugs by the names of Burke and Hare (Ivor Dean and Tony Calvin) do so. Instead of extending Dr. Jekylls' life, the hormones end up turning him into a woman (which leads to the requisite Hammer Horror nudity). He winds up explaining away his new identity as Ms. Hyde, Dr. Jekylls' sister, to his inquisitive neighbors. Ms. Hyde however, winds up completely dominating Dr. Jekyll and soon takes up stalking and murdering female prostitutes in the same manner as Jack the Ripper, just in order to maintain a fresh supply of female hormones.
The Queering
No one would mistake Dr. Jekyll and Sister Hyde for a historical bio pic revealing the "true" story behind the infamous Jack the Ripper murder cases. However, in that it clearly draws inspiration from historical events, can be seen writing queer identity onto a historical villain where no hard evidence of one previously existed. As I have previously noted, the only time history is guaranteed to remember someone as being a member of the LGBTQ community is when they kill someone. If you are queer and do something heroic, good luck with history remembering your true identity. However, being heinously evil is a great method for coming out of the closet, even for those who are 100% straight.
This is of course on top of all the more overtly transphobic elements. In this case, the filmmakers appear to be promoting the idea that transgender or transsexual woman can only become "true" woman by stealing something from other woman. In this case, female hormones. TERFs (trans exclusive radical feminists) will love it.
It is possible of course, to get lost in a debate as to whether or not the character of Dr. Jekyll is supposed to represent an actual transgender or transsexual individual. After all, he (the character) continues to maintain his masculine identity after starting the female hormones, rather than being written as an individual whose gender identity does not align with the one they were assigned to at birth. That is, the story is not about a "true" transgender or transsexual individual. However, I think this would ignore the obvious intent of stories involving gender non-conforming characters. That is, not only are they intended to associate gender non-conforming behavior with general evilness, but they also get to promote the idea that there is no "true" transgender or transsexual identity (along with other misguided mistruths about transgender and transsexual identity). To put it another way, the filmmakers get two shots off at transgender and transsexual identities for the price of one.
In a more philosophical vain, I found myself wondering about about the ethics of what Dr. Jekyll was attempting to do with his research. He believes he can find cures for most of the most common diseases and thus end a great deal of suffering for humanity. While this itself is a little arrogant, his solution for expanding his lifespan to complete his research is a little out there. Most researchers in the real world would do as much as they could in their natural life, then hope succeeding generations of scientists and doctors would be able to complete it. This being a Hammer Horror film, Dr. Jekyll naturally chooses the most horrific (not to mention unethical) option available to him. Although I suppose pointing out the absurdity of his motivations in this case makes about as much sense as using female hormones to extend ones lifespan because women live longer than men.
Recommendation
It would probably have been a lot more fun to have been operated on by Jack Ripper than to see the transphobic mess that is Dr. Jekyll and Sister Hyde.
The Rating
2 stars out of 4.
Trailer
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October 20, 2014
October 10, 2014
Queer Review: Nymphomaniac Vol. II (2013)
Nymphomaniac Vol. II
Director: Lars von Trier
Writer: Lars von Trier
Cast: Charlotte Gainsbourg, Stellan Skarsgård, Stacy Martin, Shia LaBeouf, Jamie Bell, Christian Slater, Willem Dafoe, Mia Goth, Sophie Kennedy Clark, Udo Kier, Michael Pas
Overview
Nymphomaniac Vol. II continues the story told in Nymphomaniac Vol. I as the two movies were originally conceived as one single story before being split into two films). Nymphomaniac Vol. II takes Joe (Charlotte Gainsbourg/Stacy Martin) in a darker and grittier direction, as she goes to increasingly extreme lengths to satisfy her sexual desires.
In the plus column, Nymphomaniac Vol. II has the first openly identified asexual character to appear in a major motion picture. In the negative column, the ending is one of the most problematic I have had the displeasure to witness, both from a dramatic *and* social justice perspective. Not only does it do a grave disservice to the characters, it's very nature reinforces accusations of misogyny against director Lars Von Trier.
Synopsis
After being found injured in the street in Vol. I, Joe continues to tell her story about her life as a nymphomaniac to Seligman (Stellan Skarsgård). In her quest for sexual release, Joe seeks out K (Jamie Bell), an unusual BDSM practitioner, but this leads to her neglecting her child and the end of her relationship with Jerôme (Shial LaBeouf). After K, Joe winds up working for L (Willem Dafoe) as a shady "debt collector". After Joe becomes a successful "debt collector", L suggests that Joe take on a protege P (Mia Goth). Joe is reluctant due to P's young age, but ends up cozying up to her anyways. The two end up forming a lesbian relationship, yet things quickly fall apart when Jerôme comes back into the picture.
The Queering
Never before have I found myself disliking a movie based solely on a single moment tacked onto the very end of the story. Not only does this moment dramatically undermine everything that comes before, it is both pretentious and serves absolutely no purpose other than to stroke Lars von Triers' ego. Everything that can be wrong with a piece of filmmaking is embodied in the last few moments before the end credits roll.
Before the ending Nymphomaniac Vol. II is on the same level as Vol. I. There are a few new wrinkles, such as Joe having to deal with being unable to seek sexual release and later engaging in a sexual relationship with a woman half her age. But for the most part, as with Vol. I there is a great deal to appreciate.
From a queer perspective, Vol. II expands upon elements that were only hinted at in Vol. 1. Seligman comes out here as asexual, making him the first character in a major motion picture to do so. Previously, asexuality has been limited to subtext, and for whatever reason, strongly associated with characters who engaged in cannibalism. (Examples: The Silence of the Lambs and Eating Raoul). Thus, I almost want to call him the first non-cannibal asexual character as well, but for the fact that potentially, there are other subtextual asexual characters out there I am unaware of.
One thing that occurred to me, is that both Seligman and and Joe go against gender stereotypes. Joe seeks out sexual pleasure, no matter the cost, in spite of society constantly telling woman that they should play hard to get. Seligman is asexual and seeks pleasure in the study of music and mathematics, in spite of society constantly telling men that they should do everything possible to spread their wild oats. While this perhaps makes sense, I cannot help but wonder what this might mean for the possibility of female asexual characters. Would most people even think a thing like that strange or would such a character ultimately appear perfectly normal to audiences? This is another reason I am little nervous about declaring Seligman the first openly identified non-cannibal asexual on film, it is quite possible there is a female character out there who fits the bill, but due to our society viewing woman as sexually passive, the characters' identity could easily slip by unnoticed, even by me.
In Lars von Triers' defense, both Joe and Seligman are complex individuals who both happen to exhibit elements of queer identity. There is also plenty of dialog (mostly from Seligman) defending human sexual desires and practices. While this at times borders on an author tract, it is still welcome to hear. Admittedly there are problematic places that Lars von Trier goes with this. For example, in the first film when Seligman defended Joe sexually assaulting a man on a train, and here Joe defends pedophiles who do not act on their desires. While I understand the sentiment, I don't see what is so great about a pedophile merely failing to harm a child. Shouldn't adulation be reserved for those who do genuine good, not merely fail to do bad?
One could potentially find things to criticize in the horrible way Joe's lesbian relationship ends in disaster, but that would ignore the fact that every relationship Joe develops ends badly. There is much more to criticize in the way Lars von Trier chooses to end the story and the way in undermines Seligmans' earlier claims of being asexual. While I try to keep in mind that films themselves are not obligated to adhere to social justice principles, there is much to mourn in what might have been. As it is, while it is nice to have an openly identified asexual character in a major motion picture, I cannot make the argument that this actually represents a step forward for asexual identity on the silver screen.
Recommendation
Pretty much only for completists who viewed Nymphomaniac Vol. I and want to see how the story ends. Just be warned about the pointless awfulness of the ending.
The Rating
1 star out of 4.
Trailer
Want to find a review of a particular work? Check out the Title Index, the archive of all reviews posted listed alphabetically.
Director: Lars von Trier
Writer: Lars von Trier
Cast: Charlotte Gainsbourg, Stellan Skarsgård, Stacy Martin, Shia LaBeouf, Jamie Bell, Christian Slater, Willem Dafoe, Mia Goth, Sophie Kennedy Clark, Udo Kier, Michael Pas
Overview
Nymphomaniac Vol. II continues the story told in Nymphomaniac Vol. I as the two movies were originally conceived as one single story before being split into two films). Nymphomaniac Vol. II takes Joe (Charlotte Gainsbourg/Stacy Martin) in a darker and grittier direction, as she goes to increasingly extreme lengths to satisfy her sexual desires.
In the plus column, Nymphomaniac Vol. II has the first openly identified asexual character to appear in a major motion picture. In the negative column, the ending is one of the most problematic I have had the displeasure to witness, both from a dramatic *and* social justice perspective. Not only does it do a grave disservice to the characters, it's very nature reinforces accusations of misogyny against director Lars Von Trier.
Synopsis
After being found injured in the street in Vol. I, Joe continues to tell her story about her life as a nymphomaniac to Seligman (Stellan Skarsgård). In her quest for sexual release, Joe seeks out K (Jamie Bell), an unusual BDSM practitioner, but this leads to her neglecting her child and the end of her relationship with Jerôme (Shial LaBeouf). After K, Joe winds up working for L (Willem Dafoe) as a shady "debt collector". After Joe becomes a successful "debt collector", L suggests that Joe take on a protege P (Mia Goth). Joe is reluctant due to P's young age, but ends up cozying up to her anyways. The two end up forming a lesbian relationship, yet things quickly fall apart when Jerôme comes back into the picture.
The Queering
Never before have I found myself disliking a movie based solely on a single moment tacked onto the very end of the story. Not only does this moment dramatically undermine everything that comes before, it is both pretentious and serves absolutely no purpose other than to stroke Lars von Triers' ego. Everything that can be wrong with a piece of filmmaking is embodied in the last few moments before the end credits roll.
Before the ending Nymphomaniac Vol. II is on the same level as Vol. I. There are a few new wrinkles, such as Joe having to deal with being unable to seek sexual release and later engaging in a sexual relationship with a woman half her age. But for the most part, as with Vol. I there is a great deal to appreciate.
From a queer perspective, Vol. II expands upon elements that were only hinted at in Vol. 1. Seligman comes out here as asexual, making him the first character in a major motion picture to do so. Previously, asexuality has been limited to subtext, and for whatever reason, strongly associated with characters who engaged in cannibalism. (Examples: The Silence of the Lambs and Eating Raoul). Thus, I almost want to call him the first non-cannibal asexual character as well, but for the fact that potentially, there are other subtextual asexual characters out there I am unaware of.
One thing that occurred to me, is that both Seligman and and Joe go against gender stereotypes. Joe seeks out sexual pleasure, no matter the cost, in spite of society constantly telling woman that they should play hard to get. Seligman is asexual and seeks pleasure in the study of music and mathematics, in spite of society constantly telling men that they should do everything possible to spread their wild oats. While this perhaps makes sense, I cannot help but wonder what this might mean for the possibility of female asexual characters. Would most people even think a thing like that strange or would such a character ultimately appear perfectly normal to audiences? This is another reason I am little nervous about declaring Seligman the first openly identified non-cannibal asexual on film, it is quite possible there is a female character out there who fits the bill, but due to our society viewing woman as sexually passive, the characters' identity could easily slip by unnoticed, even by me.
In Lars von Triers' defense, both Joe and Seligman are complex individuals who both happen to exhibit elements of queer identity. There is also plenty of dialog (mostly from Seligman) defending human sexual desires and practices. While this at times borders on an author tract, it is still welcome to hear. Admittedly there are problematic places that Lars von Trier goes with this. For example, in the first film when Seligman defended Joe sexually assaulting a man on a train, and here Joe defends pedophiles who do not act on their desires. While I understand the sentiment, I don't see what is so great about a pedophile merely failing to harm a child. Shouldn't adulation be reserved for those who do genuine good, not merely fail to do bad?
One could potentially find things to criticize in the horrible way Joe's lesbian relationship ends in disaster, but that would ignore the fact that every relationship Joe develops ends badly. There is much more to criticize in the way Lars von Trier chooses to end the story and the way in undermines Seligmans' earlier claims of being asexual. While I try to keep in mind that films themselves are not obligated to adhere to social justice principles, there is much to mourn in what might have been. As it is, while it is nice to have an openly identified asexual character in a major motion picture, I cannot make the argument that this actually represents a step forward for asexual identity on the silver screen.
Recommendation
Pretty much only for completists who viewed Nymphomaniac Vol. I and want to see how the story ends. Just be warned about the pointless awfulness of the ending.
The Rating
1 star out of 4.
Trailer
Want to find a review of a particular work? Check out the Title Index, the archive of all reviews posted listed alphabetically.
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