REVIEW: ‘Jack the Ripper’ is one of Severin’s best releases
Image courtesy of Severin / Provided with permission.
The term “forgotten gem” comes to mind when watching Robert S. Baker and Monty Berman’s Jack the Ripper, which was released in 1959 and depicts the events surrounding the infamous serial killer in Whitechapel, London. The black-and-white movie, now available from Severin Films, is not a well-known adaptation, with many other movies and books receiving higher billing in the annals of Ripper-land, but this one deserves some plaudits. The 84-minute thriller is a taught whodunit that is atmospheric and features solid acting.
Severin’s release, which consists of two discs, is fascinating because it includes the uncensored UK cut, which features one scene of nudity and some violence, and an American version, which features a new score.
The movie takes some liberties with the Ripper canon, straying from the true events and deciding instead to craft a new tale that is reminiscent of what happened in London in the late-19th century but not 100-percent accurate. The focus is mostly on the men in the narrative, which is an unfortunate reality in many Ripper stories; the female victims are often reduced to second billing, except in the exquisite book The Five by Hallie Rubenhold.
Utilizing a convincing set and plenty of smoky effects, Baker and Berman are able to recreate the environs of Whitechapel with dark passageways between the buildings, street lamps that are like guideposts in a murky cloud and sketchy characters around every turn.
The two protagonists are British Inspector O’Neill (Eddie Byrne from Star Wars) and American Detective Lowry (Lee Patterson from The 3 Worlds of Gulliver). Together they form an unlikely duo that hunts down Ripper in the streets of London. Lowry faces some prejudice from the locals, of both the upper and lower classes, for his American ways. It is an interesting narrative choice to place an American character at the center of the British story; the move feels like a push to market Jack the Ripper to American audiences.
There is a host of supporting characters, but it’s best to keep them under wraps. Part of the mystery is trying to figure out who might be the cloaked person in the shadows. No doubt Baker and Berman were familiar with the “red herring” concept because they employ this storytelling technique on more than one occasion. Jack is depicted holding a particular bag, and the next scene has a character holding a similar bag. Hmmm.
One addition to the story deals with a local burlesque house that features dancers and performers before a rowdy crowd of couples. There’s one sad scene featuring an opera singer who is forced to go on stage after a well-received dancing number, and he’s booed by the audience members. The reason the burlesque scene works is because the script allows some time away from the men of Scotland Yard and the men at the local mortuary and medical surgery. Instead, there are some moments with the women, who must have been terrified to not only face the darkened streets of London after their shifts, but also have to deal with the lascivious creeps who demanded more than a dance routine in the backroom. The inclusion of these scenes seems to speak to Baker and Berman understanding that the Ripper tale is essentially a story of toxic masculinity, taken to a violent, horrifying degree.
Betty McDowall offers the best performance in the movie as Anne Ford, who fights her uncle’s guardianship and attempts to build a career for herself, bucking the trend of the day that didn’t allow women to excel in the workforce. The Australian actor, known for her TV work in The Saint and The Prisoner, offers a rare feminist role amidst the scare-inducing bloodletting at the hands of Jack the Ripper. In many ways, Anne is the deserving protagonist of the story, much more than O’Neill and Lowery, and she’s also in the uniquely terrifying position of needing to keep clear of Ripper in the streets. It’s her character arc that interests the viewer the most.
The look of the film is quite expertly realized. The interiors are stuffy and well-decorated, while the exteriors feel like a play being broadcast for TV. There are cobblestone streets, angled shadows and billows of smoke. Everything looks the part.
There have been many Jack the Ripper cinematic adaptations over the years, including a classic movie directed by Alfred Hitchcock and the more modern From Hell. This Jack the Ripper stands out as one of the strongest. Huge credit to Jimmy Sangster, who wrote the script and is also responsible for The Curse of Frankenstein and Horror of Dracula. He keeps things moving along and extremely focused; there’s hardly a second to take a breath.
Severin’s release is stacked with special features, including a commentary with Baker, Sangster and assistant director Peter Manley. Ripper knowledge is also discussed by expert Denis Meikle, author of Jack the Ripper: The Murders and the Movies. Plus, there are other featurettes, such as a trailer and art gallery. Severin event has a special slipcase (see the red image below).
This is one of the strongest Severin entries in some time, and that’s mostly because the movie itself is such a solid entry in genre filmmaking.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Jack the Ripper (1959). Directed by Robert S. Baker and Monty Berman. Written by Jimmy Sangster. Starring Eddie Byrne, Lee Patterson and Betty McDowall. Running time: 84 minutes. Rating: 
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