There’s been much fruitless speculation (to which I won’t add) over the reasoning behind this but even after we’ve parked that one, the other chestnut that keeps coming up and crowding out any discussion of the film’s actual merits is the abandoned 3-D gimmick which utilised the Pulfrich effect, dispensing with the need for special cameras but requiring Lee to walk from side within static shots more frequently than he oscillates between Good and Evil (while folks in the background typically traverse the screen in the opposite direction!) Amicus thought better of it before releasing I, Monster but it you don a pair of those cardboard glasses (surely every well appointed household is equipped with one?) while watching, you’ll get a pretty good idea of how it might well have worked, via an impressive visual collaboration between DP Moray Grant and art director Tony Curtis (no, not that Tony Curtis!) Personally, I always get a headache watching this stuff… still recovering from that Channel 4 screening of Flesh For Frankenstein!
Visual distractions aside, Weeks keeps things rolling along in satisfyingly entertaining fashion. I won’t insult my readers by assuming that you need a run down of the plot, reasonably faithfully adapted from Stevenson’s 1886 novella by Subotsky (though he can’t resist adding an anachronistic dollop of Freud to the principals’ musings about Rousseau, the nature of Evil, et al). The film is certainly way more faithful than Terence Fisher’s Hammer effort The Two Faces Of Dr Jekyll from 11 years earlier (which neglected to mention RLS at all in its credits / titles). Nor will you need me to point out that the combination of Lee and Peter Cushing (as Marlowe’s bewildered friend Dr. Utterson) makes for “must watch” stuff. The casting of Mike Raven, however, as their colleague Enfield, only exposes the fragility of his big time Horror Icon aspirations.
A root through the lower echelons of the supporting cast, though, does throw up some interesting finds, e.g. Michael Des Barres (who, like the late Raven, has straddled the worlds of film and music) as a “Peaky Blinders” type who gets into a razor fight with Blake and the uncredited trio of Lesley (Blue Peter) Judd (as De Barres’ strumpet girlfriend), future “video nasties” stalwart Ian McCulloch as “man at bar” and – as “girl in alley” – young Chloe Franks, a perennial Subotsky favourite who qualifies as the UK’s answer to Nicoletta Elmi on account of her roles in this, Trog (1970), The House That Dripped Blood (1971), Tales From The Crypt (1972), Whoever Slew Aunti Roo? (1972) and The Uncanny (1977).
Indicator’s limited (to 5,000 units) edition, another BD World Premiere, boasts two cuts of Weeks’ film, the 75-minute theatrical cut and an 81 minute variant, each restored in 2K. The director contributes a new audio commentary in addition to an archive one on which he collaborated with film scholar Sam Umland in 2005. Stephen Laws, who offers a short introduction to the film, also pops up interviewing Weeks in footage shot at the 1998 Festival Of Fantastic Films in Manchester. Carl Davis discusses his score for the film in another new interview. Audio interview wise, a section of Phil Nutman’s epic pow wow with Subotsky is complimented by part one of the BEHP interview with editor Peter Tanner. Yes, you get trailers and image galleries and if you’ve ever wanted to view this film’s trailer with an audio commentary from Kim Newman and David Flint, here’s your chance. I haven’t seen the limited edition exclusive 36-page booklet but am reliably informed that it includes Milton Subotsky’s memoir on I, Monster, a new essay by Josephine Botting, archival interview with Stephen Weeks, overview of contemporary critical responses and full film credits.