One of the least credible theories regarding the identity of Jack the Ripper insists the serial killer was Arthur Conan Doyle, who was a practicing physician prior to gaining wider fame as the creator of Sherlock Holmes with the publication of “A Study in Scarlet” in 1887. There is no evidence – not even the most frayed wisp of preposterous circumstance – to place Conan Doyle in Whitechapel at the time of the killings, let alone providing him with a motive for the crimes.
In 1973, Bing Crosby Productions was focusing on churning out low-budget flicks that were heavily marketed with exploitative flair. (Despite the company’s name, Crosby himself was not directly involved in the creation of these efforts.) With films including “Willard” (1971), “Ben” (1972), “You’ll Like My Mother” (1972) and “Walking Tall” (1973), the company offered a happy blend of violence, horror and thrills in contemporary settings. These titles proved very popular, and the company decided to dust off the concept of a wax museum setting for a horror film and brought back Jack the Ripper as key figure in its murder plot.
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BOOTLEG FILES 863: “Room to Let” (1950 British drama inspired by the Jack the Ripper murders).
LAST SEEN: We cannot confirm the last presentation of this film.
AMERICAN HOME VIDEO: On a collector-to-collector label.
REASON FOR BOOTLEG STATUS: An obscure film that fell through the cinematic cracks.
CHANCES OF SEEING A COMMERCIAL DVD RELEASE: Not likely.
Unless you are a scholar of either the Hammer Film Productions canon or cinematic endeavors inspired by the Jack the Ripper crimes, there is an excellent chance that you never heard of the 1950 British film “Room to Let.” And that would be a great shame, because “Room to Let” might be the greatest film you never saw.
In concept, there was little in “Room to Let” to inspire greatness. With a 68-minute running time, the film was never intended to be more than the lower half of a double feature bill in British cinemas. The film’s director, Godfrey Grayson, was not responsible for any work that could be mistaken for a classic. And the film covers territory that was previously plumbed in critically and commercially successful works by Alfred Hitchcock with “The Lodger” in 1927 and John Brahm with “The Lodger” in 1944.
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BOOTLEG FILES 860: “The Lodger,” also known as “The Phantom Fiend” (1932 thriller starring Ivor Novello and Elizabeth Allan).
LAST SEEN: On several online video sites.
AMERICAN HOME VIDEO: On public domain labels.
REASON FOR BOOTLEG STATUS: A lapsed copyright in the United States.
CHANCES OF SEEING A COMMERCIAL DVD RELEASE: Not likely as a fully restored production.
During the 1920s, the British film industry was a mostly uninspired environment that failed to match the Hollywood film machine or the silver screen output from France, Germany and the Soviet Union in terms of artistry and commercial appeal. That situation shifted somewhat with the 1927 release of “The Lodger,” an adaptation of Marie Belloc Lowndes’ thriller inspired by the Jack the Ripper murders. Under the direction of the then-unknown Alfred Hitchcock, “The Lodger” was a visually imaginative study in fear and paranoia – and much of its appeal at the time was the against-type casting of matinee idol Ivor Novello as a mysterious figure suspected of being a serial killer.
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Jack the Ripper is one of the most fascinating serial killers of all time mainly because of the way they (I always assumed it was more than one killer) murdered, and their targets. Sadly, the entity has managed to inspire so many horror films, some very good, and some known as “Jack’s Back.” A cheapy little vehicle, “Jack’s Back” has vague connections to Jack the Ripper, but it overplays its hand by sidestepping the slasher motif, trying to be a cerebral character study. It fails on most fronts. Instead watching like a goofy, often muddled mess that I had a tough time keeping up with.
The original film–well it was far from original–I’ll say the first film, was quite possibly one of the most ludicrous slasher films I’ve ever seen. One thing is for sure, I’ve never seen a slasher movie so intent on being taken seriously, and I’ve never seen a slasher film so intent on posing as a murder mystery, but it was so filled with lapses in logic, that I could have gone on for pages on its sheer stupidity. Here’s a film that further widens the gap between fantasy and reality adding a “digital twist” to its story. Are these studios so dumb they use the digital angle as a fail safe? Need a sequel to “Mangler”? Add a digital twist. Need a sequel to the “Nightmare on Elm Street” series? Add a digital twist. It can happen.
Director John Eyres does manage to capture the appropriate mood for a film with a concept such as this. The set pieces range from grim, to bleak, to bright, to sometimes very sleek, plus he manages to take an old tired horror device: a dark and stormy forest and manages to make it a bit tense with some suspense clearly evident to the audience awaiting the identity of the killer. Jack the Ripper, the famous or infamous serial killer has been fodder for horror movies for decades, and as always is the case, every new movie attempts to put a different spin on the serial killer, attempts to turn and twist, and flip the serial killer into a new movie, but alas, there are very few movies that can take the most interesting serial killer of all time and turn him into a good film.