Jack the Ripper wasn't a very nice fella, so anyone expecting a coy, pleasant, Victorian-era drama laced with ribald humor about him had best stay far, far away from "From Hell."
The Hughes Brothers prove themselves masters of cinematic style with this brutal, grim tale of Jack the Knife. It's not easy to look at, but it's not meant to be, and it succeeds on most levels despite its faults.
In the slums of Victorian England circa 1888, prostitutes are in danger from nearly everyone around them. Further complicating their lives is a particularly brutal murderer who begins taking them out in a ritualistic fashion.
On the case is opium-addicted Inspector Frederick (Johnny Depp), who sees visions of the murders before they happen. This gift is more a curse than blessing, since it doesn't allow him to prevent anything. One prostitute in peril, Mary Kelly (Heather Graham), recognizes the inspector's helplessness but helps him track down the Ripper anyway. The tension mounts as the murders become increasingly messy and the suspects become legion.
The story is adequate but does leave something to be desired. It has a tendency to jump from one event or place to another without a logical connection or transition, and this can become rather disorienting.
"From Hell's" primary strength is its visuals. It's a frequently surreal, dynamite treat for the eyes. The fact that the film favors style over substance should not be surprising, since it's based on a graphic novel (by Alan Moore and Eddie Campbell).
The dark underbelly of England is portrayed brilliantly, and the poverty, disease and ugliness of life there are pervasive. The film's colors are almost entirely washed out and saturated in the bowels of the city, providing a stark contrast to both the red blood that sprays and the rare scenes that take place in lush gardens or more pleasant exteriors.
In all, its look and atmosphere make for a much more effective homage to the British Hammer films of the '50s and '60s than another recent Depp movie - "Sleepy Hollow," which was more of a rip-off.
All the ideas presented in the film are speculative. Very little is actually known about Jack the Ripper, and the case was never solved. There were rumors that he was either a butcher or a doctor, but no one ever confessed.
Since there was never a resolution historically, it's surprising that "From Hell" manages to pull one off. When the identity of Jack the Ripper finally is revealed, it is unlikely anyone in the audience has guessed correctly. A conspiracy implicating a great deal of the aristocracy is thrown in, which is novel, though not particularly intriguing.
The ending is a definite downer, though it is satisfying and not nearly as nihilistic as it could have been.
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Depp is fair as the inspector. His British accent is a bit uneven, but it doesn't really distract the viewer. Heather Graham's accent is a bit more of a problem. She just can't seem to pull it off, despite her best attempts. And one has to ask: Did they really make red hair dye with her particular shade in 1888?
The rest of the cast is largely British (no accent problems there). Ian Holm and Robbie Coltrane provide some standout performances.
With "Hell," the Hughes Brothers break free from their standard confines of inner-city movies ("Dead Presidents," "Menace II Society"). They saturate the film with darkness and maintain a high level of intensity throughout. Though they rely a bit too heavily on fancy camerawork (an early extended tracking shot is a standout) and art direction here, they show great potential for the future.
The musical score by Marilyn Manson and Trevor Jones is eerie and provides several jolts to complement the film's scares. And be warned: There are several hideously violent scenes in the movie, though they are mostly brief and what is implied is worse than what is shown.
For viewers prepared for a grim worldview and some jarringly harsh moments, "From Hell" is a good night's entertainment. It's bloody as well as bloody well done.
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