From Hell

Ah, Jack the Ripper. Few events in history have been as researched, theorised upon or dramatised (Jack the Ripper –The Musical is about all that's left, or maybe Jack the Ripper Ice Follies). This series of gruesome 19th century murders remains unsolved to this day and has become an obsession for some, but is of interest to most, I dare say, for the sheer mystery of it all.

London in the late 19th century was characterised by hansom cabs, gaslights, fog, poverty, filth, disease, prostitution, corruption and some rather questionable characters in the palace. While some might claim that this also bares a striking resemblance to London today, it cannot be denied that the story of Jack the Ripper makes for fascinating debate.

History records that in 1888, Jack the Ripper brutally murdered and disemboweled at least five prostitutes in the Whitechapel area. He struck quickly and quietly, was never actually seen, was possibly disturbed on one occasion, and left the bodies in a state that led investigators to conclude that Jack the Ripper was no hack (ooh - bad pun). It has been concluded that the Ripper had more than a basic knowledge of human anatomy, or an accomplice that did. The bodies were all severely butchered, bar one, and investigators have assumed that the Ripper was probably unable to finish that job for fear of being interrupted. He made up for that by killing again the same night.

The fact that the victims were all prostitutes possibly meant that the amount of resolve to catch the perpetrator was not as rigorous as it might have been had the victims been ladies of society rather than ladies of the night. Inspector Abberline (Johnny Depp) was charged with the investigation, but the lack of witnesses, the audacity of the villain, Abberline's increasing attachment to a friend of the victims, herself a prostitute, and his opium addiction, meant that the case was never going to be an easy one to close. Eventually Abberline was replaced, to be reinstated before the murder of the last victim.

Many theories have been espoused about the identity of the killer (or killers). They include such names as Prince Albert Victor, Queen Victoria's own physician Dr William Gull killing on her behalf, and other prominent Whitechapel officials and less savoury characters. Theories of cover-ups, corruption and conspiracy plagued the case, and no doubt complicated the investigation. Each theory has evidence to support it, but also facts that do not fit. There are no clues as to why the murders suddenly ended, with the death of the perpetrator being but one explanation.

The title of the film, From Hell, is drawn from a letter received by the police during the investigation, and while it was one of many letters received, this one was accompanied by a human kidney and thought to be genuine. Whether it was in fact genuine has never been established.

The Whitechapel area would have been an interesting place to be in the 1880s to say the least. It is doubtful that the murders will ever be solved to everyone's satisfaction. To this day, there are investigators, writers and Ripperologists putting forward their theories, each convinced that they have the answer. As time passes, it is increasingly unlikely that there will be a conclusion to one of the most interesting chapters in the history of crime.

From Hell, however does, propose a solution, and it is quite a complex and involved proposition. It includes accusations of corruption, secrecy and includes links to the royal family. It is mostly conjecture, sure, but it is a solution that has the backing of many historians and modern day crime fighters. The film offers up basic facts, and mixes them with large doses of conjecture, supposition, and possibilities. It is a dark film in more ways than one, and includes some graphic scenes, so caution is advised for the faint hearted. Depp is in good form, and the supporting cast, including Heather Graham, Ian Holm, Ian Richardson, and Robbie Coltrane, all give fine performances.

The film is well paced, with a few side distractions and an unlikely love interest, but on the whole is a great piece of drama. The gloominess of the times, and especially of the East End, is well captured by the clever use of subdued lighting and good costuming. Criticisms include the good looking and shaggable prostitutes, who in reality were dirty, unattractive, toothless and wretched, and the casting of Depp, who is simply far too good looking to pass as Abberline, who in reality was short, old, balding and fat. Depp's performance, however, is typically solid.

Viewers with a pre-existing fascination for Jack the Ripper will be dismayed and maybe disappointed at some of the dramatisation and directorial license, but on the whole this is an enjoyable, though disturbing, dramatisation. By offering a solution, the producers have taken away the right of the audience to make up their own minds. Allowing for this, the film is still a captivating and creepy reminder of a dark and fascinating chapter in London's history.

This is a fine transfer presented in an aspect ratio of 2.35:1 and anamorphically enhanced. The image is mostly sharp and well detailed. Colours are very good, and an earthy pallette has been used. The subdued lighting tends to give the whole thing a dark look, but this is intentional and sets the mood nicely. There is no evidence of noise, or discolouration, and shadow detail, so important in a film such as this, is very good.

There is some slight grain at times, but it's minor and not worth consideration. There is some rather intrusive aliasing that makes an appearance, and while not the worst I have seen, it's nonetheless obvious and distracting. Also distracting, for the finicky, are the film artefacts that are somewhat regular and noticeable in that they are white blobs in a dark film. Less fussy viewers would probably see past them. There is also edge enhancement in some of the darker night scenes, especially in the opening shots.

This is a dual layer disc and the layer change is well placed at 66:09 but still noticeable. A wealth of subtitles rounds out the disc, including English.

The good video transfer is supported by a very good audio transfer, in this case a Dolby Digital 5.1. There is great use of the rear speakers for ambient sound and the orchestrated score. The subwoofer likewise is active and lends the movie a deep menacing rumble that is present through most of proceedings. This helps to create a dark and menacing mood.

All dialogue is placed in the front speakers, and mostly in the centre. It is always clear and synchronisation is not a problem. There are no real audio tricks as such, and it is the consistency and clarity of the audio that scores this transfer its high marks.

Now this is what all DVD extra features should be - interesting, entertaining and informative. Disc one includes an Audio Commentary from co-director, Albert Hughes (his brother makes an uncredited appearance), with prerecorded interjections from Robbie Coltrane, screenwriter Rafael Yglesias, and cinematographer Peter Deming. Each commentator brings something new to the commentary and it pretty much covers all aspects of filmmaking. The brothers themselves even acknowledge the value of other commentaries to them as filmmakers.

The Deleted Scenes last over 22 minutes and come with or without commentary, which always increases their worth. Each scene is bookmarked by black and white snippets from the film so you know where they were intended to be. All are in an aspect ratio of 2.35:1 and are 16x9 enhanced, and in Dolby Digital 2.0.

Disc two kicks off with a 30 minute featurette entitled Victim/Suspect Files, which is a strangely edited featurette that appears to be two separate ones edited together. It has no real introduction, but is very interesting nonetheless. It provides dossiers on many of the suspects and the victims.

Production Design takes an 11:23 minute look at the production of the set in Prague, its creation, the advantages of filming in the Czech Republic, and includes input from the production crew. It is a full frame presentation, and in Dolby Digital 2.0.

At just under ten minutes, Graphic Novel features the Hughes Brothers explaining the inspiration for this retelling of Jack the Ripper's story. One of the key inspirations was a comic book of the story, and quite a graphic one at that. It is also full frame and in Dolby Digital 2.0.

Take a Tour of the Murder Sites with the Hughes Brothers, as they show you around their set explaining each murder and the relevant details and explaining their need for accuracy when filming the story. Again, this is in full frame and Dolby Digital 2.0.

Absinthe Makes The Heart Grow Fonder is a 9:33 minute look at the history of absinthe, from its creation, to its rise in popularity, especially in Europe, and its eventual criminalising in most countries.

A View From Hell is Heather Graham's turn to play host for almost 14 minutes as she takes you behind the scenes, although there is not a great deal that you will not have seen and heard in the other extras by now. Nonetheless it is an interesting featurette and also serves as a bit of an introduction to the main characters.

For those who know little to nothing of the story of Jack the Ripper, From Hell serves as quite an introduction, providing you remember that it follows just one of the more popular theories as to who Jack was, and offers this as the solution. It is a great dramatisation and interpretation. There has been a great deal of effort spent in recreating 19th century London, and in particular the East End area of Whitechapel. The acting is generally very good, and there are some great filmmaking techniques employed to give the film a creepy, yet intriguing, feel.

Recommended for those that love a ripping yarn...