“You fool Hyde, you can never defeat us” – Jekyll and Hyde AD 2016

Jekyll and Hyde 2015 2016

Following the gothic cross-sectional glimpses at Frankenstein and Dracula over the last two years, Jokerside looks at the rocky state of Dr Jekyll and the ever chaotic world of Mr Hyde… From ITV’s recently axed Jekyll and Hyde to what 2016 has in store for the character in adaptation. And yes, requisite mention for NBC…

*May transform into spoilers*

THE DEFINITE ARTICLE SHY NOVELLA STRANGE CASE OF DR JEKYLL & MR HYDE WAS PUBLISHED IN 1886. WITH IT, 36 YEAR OLD AUTHOR ROBERT LOUIS STEVENSON NOT ONLY ENTERED THE ILLUSTRIOUS PANTHEON OF 19TH CENTURY HORROR WRITERS, BUT PENNED A SLIGHT STORY OVERSTOCKED WITH INFLUENCES. Although set in the far more commercial London, it makes for a heady exploration of the original city of two-sides, Stevenson’s home town of Edinburgh. In the latter days of the Victorian era, it’s also a handy analogy for contemporary fears for the individual, privatisation and public ownership, and class division. As the 20th century brought new concerns, Jekyll and Hyde was readymade to reflect them, much as the universally adaptable themes at the heart of Bram Stoker’s Dracula ensured it permanent relevance. Stevenson’s story was first adapted for the stage a year after its publication and continues to spread into films, music, books, art across the world. To the point that the good Doctor and his dangerous alter-ego make up the third most filmed literary character. The last decade has seen two major British adaptations, both modernising in their own way, while it’s provided inspiration for serials in America and America. There’s little sign of the original horror icon of split personality disappearing any time soon. And indeed, its themes have spawned other works that have stomped their own giant footprint on popular culture.  Currently mixing with the best of the box office, it’s impossible to look at the current state of Dr Jekyll and Mr Hyde without mentioning the Hulk in the room…

The shadow of the Hulk

“I decided I might as well borrow from Dr. Jekyll and Mr. Hyde as well “ – Stan Lee, 1974

Few sources have been as overshadowed by their inspirations as Hyde has been by Hulk, and Jekyll by Banner. Stan Lee and Jack Kirby’s most famous exploration of split personalities is a thinly veiled update, although has had far longer to explore the relationship between both personalities. Banner was similarly driven and doomed by his scientific genius, but never experimented on himself, as Lee drew liberal inspiration from Mary Shelley’s Frankenstein as well.

The Incredible Hulk currently finds himself in successful, if not straightforward times. Assimilated into the Marvel Cinematic Universe at the beginning, The Incredible Hulk was a modest success in 2008 compared to stablemate Iron Man. Through the witty script of Joss Whedon, the Hulk became one of the stand-outs in 2012’s The Avengers although curiously, never with the suggestion that this audience appreciation could translate to a successful solo outing. Indeed, as Mark Ruffalo was the third actor to take on Banner in so many films, the road was rocky. While solo outing rights remained blocked at Universal, forthcoming buddy movie Thor Ragnarok (due 2017) will pit the green brute alongside the Norse God in a build-up to the two Avengers Infinity War movies that Ruffalo has suggested forms a quasi-Hulk solo movie of its own.


Of all the legacies of Stevenson’s creation, the Hulk sits at the top of the pile, and will be dominating blockbusters for years to come. And as a pop culture behemoth, the Hulkification of Hyde was inevitable almost as soon as Marvel’s pop culture behemoth survived cancellation after six issues in 1963, just as Banner had survived the gamma radiation. Over at DC, the home of personified literary grotesque Gotham City threw up a thin, but fascinating most-of-the-time rogue in Harvey Dent. Two Face surfaced from law rather than medicine, but has proved one of the compelling and tragic figures in the rich tapestry of Batman’s friends and rogues. Obsessed with duality and literally split down the middle as the result of an acid attack that reawakened severe and deep-rooted personality disorder. Taken down by his job, from the heights of District Attorney, he’s Batman’s fallen angel and much like the Hulk (although admittedly a little more black and white), never the villain but an amoral presence in the original Hyde mould. Like Hulk, Two Face has had a mixed form in adaptation. His first big screen moment in 1995 showed how poorly he could be treated as Tommy Lee Jones channelled the nuances of personality disorder through alternating talking and shouting. Fortunately, 2008’s The Dark Knight stunned when it pulled a Two Face origin out of its rich script, drawing on many of the same tragic lines as what might remain Harvey Dent’s finest hour: Batman: The Animated Series’ Two Face in 1992. The Dark Knight did highlight the difficulties of the character however – without re-treading his inherent conflict, Nolan’s masterpiece showed that the fleeting last act emergence of the villain was just about all he needed in comparison with other rogues of Gotham.

Crucially, both Hulk and Two Face are victims of circumstance, although scuppered by their own genius. Still, these villainous and superheroic versions of Stevenson’s character might have brought out the comic book potential of the character, but they haven’t stopped the original making his mark on the medium.

One of the most prevalent examples came in Alan Moore and Kevin O’Neill’s The League of Extraordinary Gentlemen – something even more blatant in the doomed 1997 film adaptation. After Fox’s failed television update has now morphed into a film reboot, that version won’t be going anywhere anytime soon. Still, hopefully they’ll stick closer to the source. As one of Britain’s premier adapter’s and adaption curmudgeons, Moore’s love letter to these literary constructs deserves deft work.

The rebounding comic book stylings of the children of Hyde where also clear in the recent ITV adaptation, which imposed the central figure into a comic inspired set-up and even expanded the universe with nods to Marvel. As Hulk stories had soon developed in the sprawling storylines of comic book chronology, Hyde was now become an indefinite article. He is a Hyde and is not alone, least of all with the late arrival of his sister and lycanthropy dripping through another family line. “I’m a Hyde” his sister said knowingly. But that was just one of the references flowing through the blood of his most recent vehicle…

Jekyll and Hyde (ITV, 2015)

The Gordian Knot…

Before purposefully transforming into Hyde for the final time during the tenth episode of ITV’s big budget repurposing of Jekyll and Hyde, Robert Jekyll drew a comparison between his predicament and the Gordian Knot of Alexander the Great lore. How right he was. Sadly, a month since that finale aired, ITV have not only enacted their own quick slicing solution on the show, but Ofcom have found it in breach of broadcasting regulations. Read more…

David Bowie: The Man Who Fell to Earth – Station to Station at 40

David Bowie Station to Station at 40

On the 40th anniversary of Station to Station, Jokerside prepares to stare into the abyss of Bowie’s difficult and ever-rewarding 1976 album with a dart-like glance at the Thin White Duke persona that spun from the cracked actor’s first major film role in The Man Who Fell to Earth

THIS WEEKEND MARKS THE 40TH ANNIVERSARY OF STATION TO STATION’S RELEASE, JUST UNDER TWO WEEKS SINCE DAVID BOWIE LEFT THE PLANET.  Left, that is, after an incredible career. The extent of Bowie’s output post-death, the legacy of a meticulously detailed artist, will take many years if not eternity to unravel. Bowie’s swansong album Blackstar appears to pose riddle and mystery unseen since his peak of persona swapping in the 1970s. Come the 1980s his interest in persona had abated although he retained the power to innovate and reinvent. Surely a good reason for that shift from a period that had produced in rapid succession Ziggy Stardust, Aladdin Sane and Diamond Dog’s Halloween Jack and others through the early 1970s fell at the feet of his last major character. The all-pervasive horror of the persona that dominated 1976. The Thin White Duke, who would become synonymous with what Bowie later called “the darkest days of my life”

Station to Station emerged barely a year after the Year of the Diamond Dog, a furious tour of his dystopian bridge between glam and disco soul between June 1974 and… Well, by the end of 1974 it had morphed into the Philly Dogs tour and then side-stepped into soul alongside his new LP Young Americans. That lurch to the unexpected and commercial laid out the immediate and ongoing importance of America Bowie’s his life. The Young Americans sessions were completed in two stints, one a drug fuelled and productive run that producer Tony Visconti was happy to pick up and return to the UK to mix. Bowie though would return to the studio in early 1975 for two last minute additions that not only broke Bowie and Visconti’s relationship for two albums but also diluted Young American’s soul and made it his most overtly Beatles album – or specifically Lennon, with one of Bowie’s better if melodramatic covers as he took on the cosmically simplistic Across the Universe before the simplistically catchy album closer Fame found him in duet with the former Beatle.

Escape to LA

“I lifted you up once”

He wouldn’t return to the studio to any meaningful degree for nine months – a length of time that was extraordinary during Bowie’s most prolific period. But things were afoot. In the mid-1970s three years of relentless touring and the sacking of his long-term manager Tony DeFries left a smacked out Bowie staring the need for relocation in the face while holed up in a hotel in Los Angeles. New York had closed in on him, although its dying throes had not only pushed him and Lennon onto tape but thrown up a meeting with director Nicolas Roeg who was narrowing the cast for his film of Walter Tevis’ short novel The Man Who Fell to Earth. Well, it was a meeting that somehow materialised after Bowie arrived eight hours late then, assuming Roeg wouldn’t have waited, busied himself with other things until he returned home in the early hours to find the director sat at his kitchen table.


“My life is not secret… But it is private”

“I’ve always been aware of how dubious a position it is to stay in [Los Angeles] for any length of time” said Bowie in the BBC’s Cracked Actor documentary, a year before his first major film role opened the city up to him. Sporadic visits from his ever valuable assistant Coco Schwab and ever more estranged wife Angie found them both concerned for his health, although this dark portion of his life remains smattered with only sparing facts. Angie later recalled the frantic phone call from her husband, shouting that he had been kidnapped by wizards and witches and recalls him requesting an exorcism. None of that is proven, but it’s clear that during his slide into drug addled paranoia Bowie had drifted towards the dark arts in the heat of LA. ‘Paranoid delusion’ is a phrase that pops up again and again but there was certainly a great deal of peculiar behaviour in a pattern that no one could break. Except it seems, The Man who Fell to Earth. The “Spaced out space man”.

The Man who Fell to Earth (1976)

“Leave my mind alone”

Spells, incantations and late nights spent drawing pentangles by candlelight, while moving between buildings that cast different slants on ancient philosophies from Egyptian mythology to Kabbalah – philosophies that Bowie later described as “misleading in life”. It takes something to get out of that. Fortunately, once Roeg and Bowie finally got to meet, their rapport was instant. Read more…

Hammer: Dracula Prince of Darkness at 50 – Dead and just not putting up with it

Hammer Dracula Dead and not putting up with it

Of the minor things worth celebrating in what’s been a rather terrible week is the 50th anniversary of the US release of Dracula Prince of Darkness. Jokerside breaks the gloom with a look at the glorious world where resurrection is FACT.

WE’RE NEAR THE END OF A WEEK THAT’S PILED ON SOME TERRIBLE LOSSES. AND 2015 WAS PRETTY BAD. Over the last 12 months we’ve lost two British icons whose careers seemed to defy any idea of death. Sir Christopher Lee and David Bowie. Bowie played a vampire of course, in Tony Scott’s The Hunger (1983). Lee’s illustrious career would take in everything from Gremlins to Jabberwockies and heavy metal, but he will be long remembered as a definitive vision of Stoker’s legendary vampire.

Of course, this horrid week also saw the loss of Alan Rickman, most famous to millions of Harry Potter fans for his glorious portrayal role of the vampiric Severus Snape. And just yesterday, Roberts Bank Stewart, the legendary British screenwriter, father of Bergerac, was also lost. Among his many achievements was the creation of Doctor Who’s premier shapeshifters the Zygons. Ah Dracula, one of literature’s great shapeshifters.

So from the depths of gloom, where better to look that at the glorious fall, rise, fall, rise and so on of Lee’s Count Dracula. As this bloody week ends, let’s celebrate utterly ridiculous over the top and glorious concept of resurrection.

Dracula Prince of Darkness was the second of Hammer’s films to feature Lee as the eponymous Count. Of course, it wasn’t the second of Hammer’s Dracula films, but 1960’s The Brides of Dracula can be dismissed along with 1977’s The Legend of the Golden Vampires. While both starred Peter Cushing as (a) Van Helsing, neither featured Christopher Lee. The latter even attempted to replace him, painfully. If you’re after the modes of vampire slaying therein: the shadow of a giant cross and a spear through the heart.

Dracula Prince of Darkness signalled the glorious return of Christopher Lee as the Count, eight years after his first appearance and sparking off the Hammer Dracula franchise proper. And as the first true sequel, it kick-started the Count’s ability to return. And of course, despite the wonderful recap of Dracula’s death almost a decade before, it rendered the whole final act killing of a vampire utterly pointless. The franchise didn’t care a jot for that however, and so began one of the earliest examples of a series where every successive film practically wiped out its predecessor. Don’t pursue that logic too heavily though. You’ll end up with The Satanic Rites of Dracula sat shivering and alone in the corner.

There’s more to Dracula Prince of Darkness – as well as bearing quite probably the best title of any Dracula film, it also kick-started double-bill horror. Released 50 years ago this week in the US it was accompanied rather oddly by The Plague of the Zombies. Some were luck to receive plastic vampire fangs and zombie eye glasses on attendance.

The film’s script features a very handy reminder of the many weaknesses of a vampire. Just as a refresher:

“He can be traced to his resting place during the daylight hours and there, a stake through the heart. He can be exposed to the direct rays of the sun. Running water will drown him. The cross will burn him. He is not invulnerable.”

But who needs to be invulnerable when you can constantly be reanimated, even a century later? And so, let’s have a good old and tongue-in-cheek rummage through the many resurrections of Christopher Lee’s Count Dracula.

Dracula (1958)

“I am Dracula and I welcome you to my house”

By no means a direct adaptation, it was still hammer’s most faithful adaptation of Stoker’s original novel. Jonathan Harker duly turns up to meet the Count, this time at the Castle Dracula outside Klausenburg, but the real reason for rapid departures was the lock-tight contract Universal Studios had cunningly taken out with the Stoker estate two decades before. Universal’s take, with Bela Lugosi apparently defining the role, looked to have the eminently adaptable story sewn up  (Stoker after all was business manager of the Lyceum Theatre for 27 years). Read more…

“Oh no, don’t say it’s true” David Bowie 1947 – 2016

Bowie on Jokerside

A message about the action man. An unusual note for an exceptionally sad day.

THERE’D ALWAYS BE THAT DAY WHEN DAVID BOWIE BECAME PAST TENSE.  AND IT’S TODAY. Terrible words to wake up to, but thank the Starman that radio was set one minute out last night so I didn’t miss the name… And let that terrible realisation dawn during that endless pause of less than a second until the sentence was completed and the news confirmed. It’s obliterating. In the wave of reviews, articles, analysis and dissections there were all those ideas hanging since his final album launched just three days ago. Each day, more to read, disagree with, think about. What if Eno and Bowie teamed up again? Reworked Outside? What about Rodgers, Moroder and Visconti. Every time, Visconti.

Just last night, I was reading Tony Visconti on those songs from the sessions that didn’t make the cut. The promise of new material, maybe very soon? But it was such a brief and tight album, a small selection of brilliant tracks chosen for a reason. But those videos. That musical finally Off-Broadway for the South London kid who always wanted to write musicals. The being a stage reworking of his major film role. For the superstar who always wanted to be an actor, from mime to Brecht and beyond…

Lazarus. No, was never going to think about what that all meant.

Few people I will never meet will ever have the effect on me Bowie has.

There’s no doubt that I would be very different had it not been for David Bowie. This blog, if it existed at all, would be very different. The theatricality, the power for change, the hidden compromise, the surprise, the lyrics, the musicianship (though said he wasn’t a musician), the art (and was most definitely the artist he said he was), the production, the power, the quality, the volume, the intellectualism, the ridiculous, the soul, the glam, the rock, the ‘insert your genre here’. The risk. That’s him. And that was the inspiration. There’s a Thin White Duke hiding in the logo up there, a hint of Pierrot clown. Among other stuff, but it’s there.

Somehow, I managed to see him live three times. On the road during the Reality Tour, after I caught his magnificent Glastonbury return in 2000. Still, the greatest gig I’ve ever been to. (He’d take off that long coat you know, but he’s “too vain”). And then for the third and final time at his last UK gig at the Isle of Wight Festival in 2004. And he played Station to Station.

I don’t believe it. He played Station to Station.

I always had a secret lightning bolt across my forehead, just didn’t know it for a while. Until finally Bowie hit me full on the bolt when I was at art school in the late ’90s. Previously I’d ambled from ‘50s to ‘60s, Buddy Holly to the Beatles. And then slowly splintered with that decade into prog, metal, psychadelic. Into the 1970s and more of the same, then glam then… Suddenly it all stopped. That mini-evolution found one focus, the ultra-evolutionary, the chameleon able to change himself to suit his surroundings or oftentimes, changing them to match him. That would roll on to last Friday.

Back in the 90s I endlessly listened to the old ‘69 to ‘74 collection on a 24 hour bus trip to Barcelona. On cassette tape, of course. I’ve still got that. Hours was the first album of his that I bought on release, in the last year of the 20th century. I could have even downloaded it, the first full album to do that, had I known what downloading is. Six years ago I felt a bit strange from listening to the Station to Station LP too much and had to have a long lie down. I trailed around Berlin following his and Iggy’s mid-70s footsteps five years ago. Five Years. That became this triptych… A journey through Berlin with Isherwood, Pop and Bowie. I always look to layer and draw out links. Just another thing Bowie helped with.

Berlin Triptych Isherwood Bowie Pop

I was hailing his late ‘90s and early 21st century work when The Next Day caught us all by surprise in 2013. I had fun breaking his persona’s down in what’s probably my most read feature. But I also had to rant about him not swamping the Q Awards that year. Last week I was praising Labyrinth, ready for its 30th anniversary this summer.

And last night I was writing my review of . Working on the cartoon that I just couldn’t get to work. I was pleased to get some form of Jareth into last week’s Labyrinth retrospective, but now more than ever I can see that was just Jareth and not Bowie. I could never never really get that to work. It never quite felt right.

Now I know why it didn’t work last night.

That review of★ will now transform into something different for a new era of Bowie on Jokerside.

David Bowie is… In the past tense. But David Bowie is.


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