The greatest movie ever made..!

That was an excellent one.

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

This one is bad, corny and lame enough to be fun for me. Since when was Mr. Hyde ever a werewolf-vampire hybrid? Since this film of course! Dr. Lomas was a colleague of Dr. Jekyll and has been watching over Jekyll's estate and promise he can live there as long as he would like. Janet Smith and her soon to be husband George Hastings arrives at the mansion to learn that she has inherited the estate and money but is also told a dark secret - that she is the daughter of Dr. Jekyll. Now that she's learned who her father really is, she suddenly believes that it's hereditary and develops a madness with her nightmares and beliefs. But is it only her nightmare and beliefs or is she really transforming and killing the people turning up dead? 6/10

Not to be confused with "Dr. Jekyll and Sister Hyde" (1972) or "Dr. Jekyll and Ms. Hyde" (1995), "Daughter of Dr. Jekyll (1957) is a moderately interesting quickie from legendary Poverty Row director Edgar G. Ulmer. In this one, Gloria Talbott--who would find the role for which she is perhaps most fondly remembered in the following year's "I Married a Monster From Outer Space"--learns, on her 21st birthday, that she is the eponymous daughter of the infamous scientist. This causes her and her fiancé, 1950s sci-fi stalwart John Agar, some understandable angst, especially when a series of murders commences in the nearby village... To be painfully honest, there really is nothing much to this movie, but Ulmer directs with so much panache, and Talbott, as usual, is so pretty and appealing, that these two elements put the film over. Especially effective are two surrealistic nightmare episodes suffered by Talbott, as well as Ulmer's use of fog and swirling mist; his cloud-covered moon shots are a real thing of beauty, too. On the down side, we have a surprise ending that is not much of a surprise, and a plot that would have us believe that Jekyll's alter ego Hyde was really a bloodsucking werewolf! This film is certainly not the horror masterpiece that Ulmer's "The Black Cat" (1934) turned out to be. Still, it IS fun, and this DVD is as crisp and clean looking as can be. Modern-day interviews with Agar and with Ulmer's daughter make for nice extras, too.

Edgar G. Ulmer began his career as a set designer to the famous theatrical impresario Max Reinhardt; by 1920 he was working in films, and although often uncredited labored on such legendary films as Fritz Lang's DIE NIBELUNGEN and METROPOLIS. By 1927 he was in Hollywood, and set design work led to assignments as a director. In 1934 Ulmer brought the full force of his talents upon Universal's THE BLACK CAT--a brilliantly realized film that many consider among the finest horror films of that decade. But Ulmer's affair with script girl Shirley Castle, wife of a studio executive, resulted not only in his termination at Universal but placed him on an industry-wide blacklist as well. He would never work at a major studio again.But Ulmer had a knack for getting the most out of a tiny budget, and he soon found himself in demand as a director at second-string studios and for independent productions. Between his dismissal from Universal in 1934 and his death in 1972 he would direct more than forty films, and he was often noted for his ability to bring a remarkable artistic vision to the screen in spite of low budgets and questionable casts.All that said, the 1957 DAUGHTER OF DR. JEKYLL was, according to daughter Arianne, a project undertaken for the sake of a paycheck; it is far from Ulmer's most memorable. Even so, as 1950s B-horror flicks go, it is far from the worst--in spite of tenth-rate special effects Ulmer manages to endow the movie with an entertaining atmosphere and the occasional jab of humor, and it is considerably more coherent than most of its kind.The story concerns orphaned Janet Smith (Gloria Talbott), who has now reached her twenty-first birthday and arrives at the home of her guardian Dr. Lomas (Arthur Shields.) She brings with her future husband George Hastings (John Agar), who soon wins Dr. Lomas' approval, and all seems pleasant. But Janet is in for a surprise: Dr. Lomas tells her that she is heiress to the estate, left to her by her father, the notorious Dr. Jekyll, and no sooner is Janet in residence than corpses begin to crop up. Has she somehow inherited her father's chemically-induced evil? The script here is extremely transparent, and you'll know what's going on long before Janet does. It is also more than a little odd, managing to wrap ideas about vampires and werewolves into the whole Dr. Jekyll package. Add to this extremely obvious miniatures awash in dry ice, mediocre special effects, and a cast that tends toward the obvious at every possible turn--well, the overall effect is somewhat hooty, to say the least.THE DAUGHTER OF DR. JEKYLL will never rank along side the likes of Ed Wood's PLAN 9 FROM OUTER SPACE in the "so bad it's good" cult movie derby--Ulmer is too much of an artist to permit tipsy tombstones--but it is actually amusing in its low-rent efforts. Recommended to fans of the genre.GFT, Amazon Reviewer

This is a low-grade horror film which has been culted into a reputation beyond its worth because of its director's involvement. The plot is strikingly similar to that of another notorious potboiler - SHE-WOLF OF London (1946) - but, at least, here the monster is seen (albeit ineffectively made-up): despite the titular reference, the script pays little to no credit to previous cinematic incarnations of the R.L. Stevenson novella - opting, instead, to indiscriminately incorporate elements of lycanthropy and vampirism which make no sense at all...but which lend the film value as a unique curio and one which, in view of its sheer audacity, it is difficult to hate (indeed, the whole misguided enterprise reminded me of the contemporaneous FRANKENSTEIN 1970 [1958])! Despite the ultra-cheap production, the film makes the most of its foggy atmosphere and the hallucination sequences are effective in a naïve sort of way. Casting is below-par but, at least, Arthur Shields (who also appears in a silly book-end in full monster make-up - but, then, as Gloria Talbott's legal guardian spends the rest of the film trying to convince her that she is the werewolf!!) and John Dierkes (as a particularly vehement believer in the Jekyll 'legend' despite being in their employ - or, so it seems, since he's always hovering about the estate!) enter gleefully into the spirit of the thing.I had been toying with the idea of purchasing the All Day DVD of this one ever since it was released; I'm glad I managed to catch up with it eventually without having to purchase the disc - being shown on late-night Italian TV, as part of a Jekyll & Hyde marathon which included snippets from a variety of films based on the venerable tale (I was especially gratified by the inclusion of a couple of scenes from Jean Renoir's THE TESTAMENT OF DR. CORDELIER [1959], which I've been yearning to see forever, and also ABBOTT & COSTELLO MEET DR. JEKYLL & MR. HYDE [1953], which I haven't watched in ages - I really ought to get down to purchasing either the R1 or R2 DVD releases of the films featuring the comic duo!)...