From Hell
Jack the Ripper is a well known notorious murder. His spree against Victorian London prostitutes may not be the most prolific, but his constant taunting of the police and his continuous anonymity has left people quaking in his history. So such a famous case isn’t bereft of its exploitation. And while the brutal killings are saturated in historical theories and deductions, fiction have used the murders in every form possible including a now long winded television series and a Sherlock Holmes fiction. This being said, one such masterpiece of art came in the form of Alan Moore in his graphic novel From Hell. Portraying the murderer as a man hired by royalty to dispose of women witness to an illegitimate marriage and child and incorporating the number one suspect Walter Sickert, From Hell is an intelligent clever comic.
Unfortunately, the movie From Hell is none of the above.
From Hell, that is the movie, follows the similar conspiracy narrative only making leading detective Frank Abberline super sexy (he’s played by Johnny Depp) and absinthe drinking. As Abberline investigates the gruelling murders, he is accustomed the odd vision and flashbacks of his deceased wife and son. The murders continue and Abberline must unmask are killer before he strikes again, but soon finds himself deep in terrible waters and red haired, erm, ladies.
Why Is It Bad?
It takes a great story and a infamous case and completely gives it the Hollywood treatment. From Hell tells the story of Victorian era prostitutes and gives the roles to “Hollywood ugly” actresses, beautiful in real life. The once gruff detective Abberline is now an opium taking, cockney lad who fools around with Mary Kelly. On the subject of Mary Kelly, the stunning Heather Graham plays a now unrealistically beautiful Mary Kelly with a shockingly bad East London accent, becoming the centre of Abberline’s attention and the attention of the whole story. There is also a strained ending that is irritating. Steering clear of the darker themes, the complex Moore subplots and the murderer’s fragile demented state, From Hell the movie becomes a “who killed the Victorian Prostitute” soap opera that was panned by most including Alan Moore himself.
Why Is It Good?
I don’t want to outright say that it is good. Part of the reason I like From Hell comes from a morbid obsession and fascination with the original 1888 murders. But push that to one side and this version of events is upheld by its stylish and well shot movie. Mixing the visions with the murders and some haunting imagery, From Hell impressively uses cinematography to bring back the fear of the killer that was taken away in mockney and failed characterisation. And, while I don’t want to spoil you, the actor who plays the killer (as in, when he is unveiled) is menacingly good in the role.
There is something that you can still cling to with From Hell. It is terrifying because it is a real story and the directors Albert and Allen Hughes somewhat utilise that into this. As a standalone movie, it has merit and that is upheld in the direction and the composition. That being said, it totally tore through a rather detail heavy and impressive book, makes Hollywood light of a rather brutal tale of murders and hires a non British actress in the lead role, destroying authenticity by her awful accent.
It’s not heaven nor hell but sits rather wantonly in limbo.
TTFN
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