The Complete and Essential Jack the Ripper by Paul Begg, John Bennett
Authors: Paul Begg, John Bennett
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so distanced from reality that it could even be turned into comedy of the silliest kind without any problem.
Perhaps the honour of the most famous modern filmed accounts of the Whitechapel murders must fall to the 1988 two-part TV series
Jack the Ripper
and the movie blockbuster
From Hell
, both of which seem to have attempted to redress the story with some much needed drama and gravitas. The former, 18 starring Michael Caine as Inspector Frederick Abberline and Lewis Collins as George Godley, was a joint effort between Thames Television in the UK and Lorimar in the United States. The big-budget production was promoted as a retelling of the Whitechapel murders story in which the name of the Ripper would be revealed. Such deductions were allegedly aided by direct information from the files of Scotland Yard and the Home Office. Several endings were to befilmed, so that even the cast would not know the result until the screening.
Unfortunately, what eventually transpired was merely a rehash of the continually popular ‘royal conspiracy’, which for students and researchers into the case was a theory that had been put to bed. It was the second outing of this particular plot (the first being 1979’s eminently enjoyable Sherlock Holmes picture
Murder by Decree
, featuring Christopher Plummer and James Mason as Holmes and Watson) 19 and featured a capable cast which included Armand Assante, Ray McAnally, Susan George, Jane Seymour, with Lysette Anthony starring as a typically pretty Mary Kelly. Several previously ignored characters from the Ripper legend also featured – Robert Lees, George Lusk and even the actor Richard Mansfield had major parts to play in the story. Despite becoming a subsequent favourite for many ‘Ripperologists’, it was rather a disappointment, occasionally marred by a tacky script and some choice overacting. Lusk was portrayed as a bellowing revolutionary, Lees was a gibbering aesthete, and Michael Caine’s alcoholic Abberline often launched into vocal histrionics without the support of decent lines. Despite impressive viewer ratings, critics were none too impressed. One contemporary commentator described it as ‘particularly embarrassing’. Poor old Michael Caine and numerous other stars must have wondered what they had let themselves in for in this made-for-Americans western-style mauling of the story.’ 20 Time has been kind to the series, however. Many students of the Ripper crimes say it is their favourite, some even declaring that seeing it in their youth first ignited their interest in the subject.
From Hell
, released in 2001, 21 trod familiar ground, the ‘royal conspiracy’, but was influenced by a graphic novel of the same name by Alan Moore and Eddie Campbell. 22 With its namederived from the chilling opening of the ‘Lusk Letter’, it was much more than just a rehash of Stephen Knight’s theory. This take on the ‘highest in the land’ story was laced with adult themes of sex and graphic violence, and deep significance was given to the mythologies of London itself, wonderfully demonstrated during an epic journey around the capital by Gull and his coachman, John Netley. Influenced by the studies of London ‘psychogeography’ by writers such as Iain Sinclair and Peter Ackroyd, this lengthy sequence took inspiration from ancient pagan rites, old legends and ley-lines, turning the very fabric of London into an instrument of occult intent. The resulting murders meant more to Gull than just saving the face of the Royal Family. Eddie Campbell’s visuals ably complemented the gritty nature of the work, with an attention to detail in both the characters and places. But
From Hell
was too complex to be done any justice by the movie industry. There was just too much in it. Moore’s graphic novel would have to be greatly simplified (and toned down) to be a success on the big screen, an unfortunate necessity, as the original story was loaded with concepts that would have expanded the
Perhaps the honour of the most famous modern filmed accounts of the Whitechapel murders must fall to the 1988 two-part TV series
Jack the Ripper
and the movie blockbuster
From Hell
, both of which seem to have attempted to redress the story with some much needed drama and gravitas. The former, 18 starring Michael Caine as Inspector Frederick Abberline and Lewis Collins as George Godley, was a joint effort between Thames Television in the UK and Lorimar in the United States. The big-budget production was promoted as a retelling of the Whitechapel murders story in which the name of the Ripper would be revealed. Such deductions were allegedly aided by direct information from the files of Scotland Yard and the Home Office. Several endings were to befilmed, so that even the cast would not know the result until the screening.
Unfortunately, what eventually transpired was merely a rehash of the continually popular ‘royal conspiracy’, which for students and researchers into the case was a theory that had been put to bed. It was the second outing of this particular plot (the first being 1979’s eminently enjoyable Sherlock Holmes picture
Murder by Decree
, featuring Christopher Plummer and James Mason as Holmes and Watson) 19 and featured a capable cast which included Armand Assante, Ray McAnally, Susan George, Jane Seymour, with Lysette Anthony starring as a typically pretty Mary Kelly. Several previously ignored characters from the Ripper legend also featured – Robert Lees, George Lusk and even the actor Richard Mansfield had major parts to play in the story. Despite becoming a subsequent favourite for many ‘Ripperologists’, it was rather a disappointment, occasionally marred by a tacky script and some choice overacting. Lusk was portrayed as a bellowing revolutionary, Lees was a gibbering aesthete, and Michael Caine’s alcoholic Abberline often launched into vocal histrionics without the support of decent lines. Despite impressive viewer ratings, critics were none too impressed. One contemporary commentator described it as ‘particularly embarrassing’. Poor old Michael Caine and numerous other stars must have wondered what they had let themselves in for in this made-for-Americans western-style mauling of the story.’ 20 Time has been kind to the series, however. Many students of the Ripper crimes say it is their favourite, some even declaring that seeing it in their youth first ignited their interest in the subject.
From Hell
, released in 2001, 21 trod familiar ground, the ‘royal conspiracy’, but was influenced by a graphic novel of the same name by Alan Moore and Eddie Campbell. 22 With its namederived from the chilling opening of the ‘Lusk Letter’, it was much more than just a rehash of Stephen Knight’s theory. This take on the ‘highest in the land’ story was laced with adult themes of sex and graphic violence, and deep significance was given to the mythologies of London itself, wonderfully demonstrated during an epic journey around the capital by Gull and his coachman, John Netley. Influenced by the studies of London ‘psychogeography’ by writers such as Iain Sinclair and Peter Ackroyd, this lengthy sequence took inspiration from ancient pagan rites, old legends and ley-lines, turning the very fabric of London into an instrument of occult intent. The resulting murders meant more to Gull than just saving the face of the Royal Family. Eddie Campbell’s visuals ably complemented the gritty nature of the work, with an attention to detail in both the characters and places. But
From Hell
was too complex to be done any justice by the movie industry. There was just too much in it. Moore’s graphic novel would have to be greatly simplified (and toned down) to be a success on the big screen, an unfortunate necessity, as the original story was loaded with concepts that would have expanded the
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