With this two-reel release the Imp company gives the public opportunity to compare a film production of the famous Stevenson story with stage productions that have preceded it. King Baggot gives us a masterly presentation of this dual character; as the kind-hearted, upright Dr. Jeykll he pleases, and as the hideous Mr. Hyde, under the powerful drug, he brings shudders aplenty. In one effect at least the film story excels; we get the real dissolving view as the drug begins to manifest its influence, in place of the crude facial manipulations employed on the stage. The London atmosphere is fairly well presented. Jane Gale and a capable company assist Mr. Baggot. A powerful presentation of a famous story. - The Moving Picture World, March 8, 1913

Dr. Jekyll and Mr. Hyde (1913) *** (out of 4) Originally released as a two-parts, this 26-minute short is certainly the longest of all the early versions of Stevenson's story and it also probably has the smallest budget. The film has King Baggot play the kind Dr. Jekyll who turns into the murderous Mr. Hyde after drinking the wrong potion. To me this is certainly the best of the early versions I've seen as Baggot really does have to do pretty much everything himself and in the end I think it makes for a find Mr. Hyde. The budget appears to be very small as the special effects are certainly lacking and are really far behind the work various other artists were doing including the master Melies. One can't help but wish the producer's had spent a little extra green trying to do more with the make up as pretty much all we get are a few shades under the eyes and not every scene even has that. What makes up for this is the performance by Baggot who really gives it his all and delivers a different type of take on Jekyll. Since there's no make up to hide behind, Baggot must instead create a real character and he makes a few interesting choices including playing Hyde as an almost hunchback who is basically a cripple, kneeling around and hobbling all over the place. This certainly doesn't make for anything scary but it's an interesting and different take. I think Baggot also manages to come across very intelligent with Dr. Jekyll and makes us feel as if we're really watching two different characters. The extra running time gives us several more scenes of Jekyll being destructive and this includes a rather shocking scene where he attacks a cripple boy just for the fun of it. The direction could have been better but I did enjoy the costume design and the sets were impressive for such a low budget. This isn't the easiest version to get your hands on but if you can find it and you're a fan of the story then this here is certainly worth watching.

This is at least the 22nd(!) version – or variation on the theme – of the venerable R.L. Stevenson novella that I have watched (incidentally, yet another one would follow it the very next day). It came hard on the heels of the 1912 adaptation – which makes one wonder as to why another stab at this property was deemed necessary so soon, considering that cinema was still practically in its infancy…but, then, the inherent contrast between the Jekyll/Hyde personas always seemed to attract actors wishing to demonstrate their versatility (the ultimate irony being, however, that the individual 'star' of these Silents – namely James Cruze in 1912 and King Baggot in the film under review – both eventually became better known as directors)! Incidentally, I was most anxious to watch this particular version because our 'colleague' Michael Elliott considers it the best rendition of the classic horror tale ever!; that said, I know he will not be offended when I say that I have learned to take such hyperbolic assertions with a pinch of salt – especially since he also feels that the 1920 adaptation featuring the obscure Sheldon Lewis (which I rated ** myself) is superior to the John Barrymore vehicle from the same year! Anyway, the film is quite faithful – unlike, say, the aforementioned Lewis version – to the source material (if not necessarily its spirit); however, the thoroughly unsubtle acting – Jekyll emphatically waves his arms so much throughout the film that he can easily be mistaken for a preacher – to say nothing of the cartoonish Hyde make-up (complete with Groucho Marx walk and Jerry Lewis teeth!) is worthy of a parody. The transformation occurs a record number of times during the picture's brief 27-minute duration, with the last three minutes or so – in which the clumsy Hyde knocks over the last antidote serum, searches frantically (literally mounting on shelves!) for leftovers in his laboratory and eventually folds up on the table – in particular being unintentionally side-splitting!! Having said all that, I still think this was a worthy effort for its time and I am glad I have finally been provided with an opportunity to watch it for myself after hearing so much about it on this site…but as for being preferable to or better than the Mamoulian, Renoir, Albertazzi, Borowczyk, Robertson or even Fleming versions…?!

Carl Laemmle's Universal Studios was less than a year old when he made this 3 reel version of Stevenson's novel, at least the sixth film version done since 1908! King Baggot, the star, was the moving pictures first real (reel?) superstar, sometimes appearing in a new movie each week (wow!). Baggot later gave up acting and went to the other side of the camera to become a director, doing such things as THE PONY EXPRESS (1924). This version is well done though the first transformation has a bad gaffe. The double exposure is badly timed and for a moment it looks like there are 2 people in the room. Apart from that it is well done and convincing. I like the way Hyde scares the life out of everyone in a seedy pub just by standing in the doorway and glaring at them. It is my life's mission to see as many versions of this film as I can and this one was certainly worth tracking down. Give it a try.