From Hell (2001)

Albert and Allen Hughes

USA-Czech Republic

121 min, color, English

Nowadays everyone seems bent on copying the style of one Tim Burton, both by casting Johnny Depp and by creating visually mesmerizing sets. The Hughes brothers may have outdone the master with their retelling, or rather, reinterpretation, of the story about the infamous Jack the Ripper. As far as I know, they have adapted a comic book series by Alan Moore, whose controversial "explanation" of the mysterious murders at the eve of the 20th century has surely enthralled conspiracy theorists everywhere.

This time Johnny Depp is Inspector Abberline, whose laudanum and opium laced existence is briefly interrupted by his duties as criminal investigator. As usual, Abberline has some unconventional methods for solving the cases, some of which involve dreams, visions, and what have you. He is assisted by the able Peter Godley (Robbie Coltrane) who serves as a deflector shield and a sounding board for Abberline's wild mind.

The string of strange murders of cheap street hookers in London finally swings the police into action, although its anti-Semitic chief seems bent on blaming the Jews for the grisly deeds. Abberline is not fooled, however, especially once he becomes convinced that the killer is someone with detailed knowledge of human anatomy. His search brings him in contact with Sir William Gull (Ian Holm), a physician in Her Majesty's service, who confirms his initial suspicions. The plot thickens as Abberline falls for one of the prostitutes, the surprisingly well-groomed and always clean Mary Kelly (Heather Graham). The two finally managed to uncover the link between the hookers and the royal house, with potentially explosive results.

Johnny Depp makes every film worth watching and this is no exception. However, the Hughes brothers have more in store for the viewer as the meticulously designed sets (all shot in the Czech Republic) bring to life a side of Victorian London one rarely sees outside of Dickensian novels. Each scene is exquisite in its composition and execution, and the sights of London may well be paintings. As visually stunning as the film is, some of its unsettling appeal is in the dream sequences, creatively shot and even more creatively edited. The music by Trevor Jones (who also composed the haunting score for Dark City) is also a perfect fit. The directors have chosen not to concentrate on blood and gore more than it is necessary to advance the plot, for which I applaud them. It would have been quite easy to turn the film into a slasher shocker, thereby losing most of its emotional contents. Their approach carries the complicated plot rather well and manages to sustain the unhappy ending leaving a clearly palpable sense of loss and grief in me. Well done.

November 17, 2001