This movie, loosely based on the graphic novel of the same name, does not offer an accurate account of the events in Whitechapel, autumn 1888, and it doesn't pretend that it does, so folks preoccupied with the Ripper-case don't have to rush and fill the goof-section with corrections regarding the actual ongoings. It also doesn't rely much on the graphic novel, with the exception of the choice for the perpetrator and all this would imply, although different from the novel keeps it a who-dunnit till the end. The movie is a Hollywood action-horror-romance populated with historical figures who underwent even more liberty, ranging from shallow drafting over purpose-posing to audacious character-alteration. In this sense, recreating parts of Whitechapel in Prague, and this still way too clean, was with all the inaccuracy probably not necessary. But OK, it's a show, and the real background story remains captivating enough, as well as Depp's acquired accent and Coltrane's presence.
Too many things strangle the effort, however, starting with the main weakness of Heather Graham being cast and outfitted as Mary Kelly. While the other victims, struggling prostitutes in the most ragged quarters of London, were all made up to more or less look that way, torn clothes, unmade hair, bad teeth and no make-up, not to mention the required acting, Graham's Mary Kelly sticks out the way Cinderella would if arriving in Whitechapel after the ball: hair perfect, careful make-up, tidy, clean, unharmed dresses, and Miss Graham is ready for the cast- party. Needless to say, we never see her getting drunk or even just attempting to go after her trade like the others. But then she's the love-interest, of course. Which is another very ill-advised idea, and we see virtually all cliché Hollywood-rules unfolding, a killer when it comes to this particular crime-case.
The movie superficially shines with a cast of very able actors, Depp, Richardson, Holm, Coltrane, the late wonderful Katrin Cartlidge, to name a few, and yet, although the fantasy- and horror-genre ever so often tickles surprising performances out of well known stars, nothing breathtaking happens here, with the exception of Holm's play (although watch, he's doing the chin-thing again), too deep the tracks of expectation in character-behaviour are, and too dominant.
Fusing an inspector and a self acclaimed medium, who both had been involved, to a clairvoyant inspector might have, with some tolerance, given this re-telling of the story some spice, but the idea went out in a puff in the end.
The choice to stick to the graphic novel's conspiracy-take and involvement of the Freemasonry, which Moore himself, with good reason, didn't insist on being the most promising one, decides a course, of course, one that had already been taken once with 'Murder By Decree', and by taking it a lot of rather interesting theories, indicators and characters have to go out the window, but here we go.
'From Hell' is pure entertainment, shallow, spotless, with a camera-work good for the eye, lines that fit together and no claim for authenticity. It kept me watching, mainly for the never ceasing fascination with the Whitechapel-murders, leaning back for the ride. It's not a very good movie, though. I'd give it a well-meaning 4, but the Graham-Kelly, so present throughout and in favour over a chance for an interesting Mary Kelly, spoils it. Hence a 3.
And: will there ever be a truly engaging, good movie about the subject?
Too many things strangle the effort, however, starting with the main weakness of Heather Graham being cast and outfitted as Mary Kelly. While the other victims, struggling prostitutes in the most ragged quarters of London, were all made up to more or less look that way, torn clothes, unmade hair, bad teeth and no make-up, not to mention the required acting, Graham's Mary Kelly sticks out the way Cinderella would if arriving in Whitechapel after the ball: hair perfect, careful make-up, tidy, clean, unharmed dresses, and Miss Graham is ready for the cast- party. Needless to say, we never see her getting drunk or even just attempting to go after her trade like the others. But then she's the love-interest, of course. Which is another very ill-advised idea, and we see virtually all cliché Hollywood-rules unfolding, a killer when it comes to this particular crime-case.
The movie superficially shines with a cast of very able actors, Depp, Richardson, Holm, Coltrane, the late wonderful Katrin Cartlidge, to name a few, and yet, although the fantasy- and horror-genre ever so often tickles surprising performances out of well known stars, nothing breathtaking happens here, with the exception of Holm's play (although watch, he's doing the chin-thing again), too deep the tracks of expectation in character-behaviour are, and too dominant.
Fusing an inspector and a self acclaimed medium, who both had been involved, to a clairvoyant inspector might have, with some tolerance, given this re-telling of the story some spice, but the idea went out in a puff in the end.
The choice to stick to the graphic novel's conspiracy-take and involvement of the Freemasonry, which Moore himself, with good reason, didn't insist on being the most promising one, decides a course, of course, one that had already been taken once with 'Murder By Decree', and by taking it a lot of rather interesting theories, indicators and characters have to go out the window, but here we go.
'From Hell' is pure entertainment, shallow, spotless, with a camera-work good for the eye, lines that fit together and no claim for authenticity. It kept me watching, mainly for the never ceasing fascination with the Whitechapel-murders, leaning back for the ride. It's not a very good movie, though. I'd give it a well-meaning 4, but the Graham-Kelly, so present throughout and in favour over a chance for an interesting Mary Kelly, spoils it. Hence a 3.
And: will there ever be a truly engaging, good movie about the subject?