Danse Macabre (13 page)

Well, back to business. The next witness of any real importance in the case is a maid who witnesses the murder which turns Hyde into a fugitive from the scaffold. It's the murder of Sir Danvers Carew, and as Stevenson sketches it for us we hear echoes of every nasty murder to hit the tabloids in our time: Richard Speck and the student nurses, Juan Corona, even the unfortunate Dr. Herman Tarnower. Here is the beast caught in the act of pulling down its weak and unsuspecting prey, acting not with cunning and intelligence but only with stupid, nihilistic violence. Can anything be worse? Yes, apparently one thing: his face is not so terribly different from the face you and I see in the bathroom mirror each morning.

And then all of a sudden he broke out in a great flame of anger, stamping with his foot, brandishing the cane, and carrying on . . . like a madman. The old gentleman took a step back, with the air of one very much surprised and a trifle hurt; and at that Mr. Hyde broke out of all bonds and clubbed him to the earth. And next moment, with ape-like fury, he was trampling his victim under foot and hailing down a storm of blows, under which the bones were audibly shattered and the body jumped upon the roadway. At the horror of these sights and sounds, the maid fainted.

All that's really lacking here to make the tabloid picture complete is a scrawl of LITTLE PIGGIES or HELTER SKELTER on a nearby wall, written in the victim's blood. Stevenson further informs us that "The stick with which the deed had been done, although it was of some rare and very tough and heavy wood, had broken in the middle under the stress of this insensate cruelty; and one splintered half had rolled in the neighbouring gutter . . . ." Stevenson, here and in other places, describes Hyde as "ape-like." He suggests that Hyde, like Michael Landon in I Was a Teenage Werewolf, is a step backward along the evolutionary scale, something vicious in the human makeup that has not yet been bred out . . . and isn't that what really frightens us in the myth of the Werewolf? This is inside evil with a vengeance, and it is no wonder that clergymen of Stevenson's day hailed his story. They apparently knew a parable when they read one, and saw Hyde's vicious caning of Sir Danvers Carew as the old Adam coming out full blast. Stevenson suggests that the Werewolf's face is our face, and it takes some of the humor out of Lou Costello's famous comeback to Lon Chaney, Jr. in Abbott and Costello Meet Frankenstein. Chaney, playing the persecuted skin-changing Larry Talbot, mourns to Costello: "You don't understand. When the moon rises, I'll turn into a wolf." Costello replies: "Yeah . . . you and about five million other guys."

At any rate, Carew's murder leads the police to Hyde's Soho flat. The bird has flown the coop, but the Scotland Yard inspector in charge of the investigation is sure they'll get him, because Hyde has burned his checkbook. "Why, money's life to the man. We have nothing to do but wait for him at the bank, and get out the handbills."

But Hyde, of course, has another identity he can turn to. Jekyll, at last frightened back to reason, determines never to use the potion again. Then he discovers to his horror that the change has begun to occur spontaneously. He has created Hyde to escape the strictures of propriety, but has discovered that evil has its own strictures; in the end he has become Hyde's prisoner. The clergy hailed Jekyll and Hyde because they believed the book showed the grim results of allowing man's "baser nature" more than the shortest possible tether; modern readers are more apt to sympathize with Jekyll as a man looking for an escape route—if only for short periods—from the straitjacket of Victorian prudery and morality. Either way, when Utterson and Jekyll's butler, Poole, break into Jekyll's laboratory, Jekyll is dead . . . and it is the body of Hyde which they find. The worst horror of all has occurred; the man has died thinking like Jekyll and looking like Hyde, the secret sin (or the Mark of the Beast, if you prefer) which he hoped to conceal (or to Hyde, if you prefer) stamped indelibly on his face. He concludes his confession with the words, "Here then, as I lay down the pen and proceed to seal up my confession, I bring the life of that unhappy Dr. Jekyll to an end." It's easy—too easy—to get caught up in the story of Jekyll and his ferocious alter ego as a religious parable told in penny-dreadful terms. It's a moral tale, sure, but it seems to me that it's also a close study of hypocrisy—its causes, its dangers, its damages to the spirit. Jekyll is the hypocrite who falls into the pit of secret sin; Utterson, the book's real hero, is Jekyll's exact opposite. Because this seems important, not only to Stevenson's book but to the whole idea of the Werewolf, let me take a minute of your time to quote from the book again. Here's how he introduces Utterson to us on page one of Dr. Jekyll and Mr. Hyde: Mr. Utterson the lawyer was a man of rugged countenance that was never lighted by a smile; cold, scanty, and embarrassed in discourse; backward in sentiment; lean, long, dusty, dreary and yet somehow lovable.* . . . He was austere with himself; drank gin when he was alone to mortify a taste for vintages; and though he enjoyed the theater, had not crossed the doors of one for twenty years.

*I must admit that, after reading Stevenson's description of Utterson, I found myself curious as to just how he was lovable!

About the Ramones, an amusing punk-rock band that surfaced some four years ago, Linda Ronstadt is on record as saying, "That music's so tight it's hemorrhoidal." You could say the same thing for Utterson, who fulfills the function of court stenographer in the book and still manages to come off as the story's most engaging character. He's a Victorian prig of the first water, of course, and one would fear for a son or daughter brought up by the old man, but Stevenson's point is that there is as little of the hypocrite in him as there is in any man living. ("We may sin in thought, word, or deed," the old Methodist credo goes, and I suppose that by thinking of fine vintages while he knocks off his gin-and-water, we could say that Utterson is a hypocrite in thought . . . but here we're entering a fuzzy gray area where the concept of free will seems harder to grasp; "The mind is a monkey," Robert Stone's protagonist muses in Dog Soldiers, and he is so right.)

The difference between Utterson and Jekyll is that Jekyll would only drink gin to mortify a taste for vintages in public. In the privacy of his own library he's the sort of man who might well drink an entire bottle of good port (and probably congratulate himself on not having to share it, or any of his fine Jamaican cigars, either). Perhaps he would not want to be caught dead attending a risqué play in the West End, but he is more than happy to go as Hyde. Jekyll does not want to mortify any of his tastes. He only wants to gratify them in secret. 

9

All of that is very interesting, you may be saying, but the fact is there hasn't been a good Werewolf movie in ten or fifteen years (a couple of pretty dismal made-for-TV movies, such as Moon of the Wolf, but they hardly count); and although there have been a good number of Jekylland-Hyde movies, * I don't believe there has been a full-fledged remake (or ripoff ) of Stevenson's story since American-International's Daughter of Dr. Jekyll in the late fifties, and that was a sad comedown for one of the original Mad Doctors, a figure that most horror buffs view with a great deal of affection.

*Three great actors took the dual role: John Barrymore (1920), Fredric March (1932), and Spencer Tracey (1941). March won an Academy Award for the role, earning him the distinction of being the only actor ever to win the award for Best Actor as a result of his efforts in a horror movie.

But remember that what we're talking about here, at its most basic level, is the old conflict between id and superego, the free will to do evil or to deny it . . . or in Stevenson's own terms, the conflict between mortification and gratification. This old struggle is the cornerstone of Christianity, but if you want to put it in mythic terms, the twinning of Jekyll and Hyde suggests another duality: the aforementioned split between the Apollonian (the creature of intellect, morality, and nobility, "always treading the upward path") and the Dionysian (god of partying and physical gratification; the get-down-and-boogie side of human nature). If you try to take it any further than the mythic, you come damn close to splitting the body and mind altogether . . . which is exactly the impression Jekyll wants to give his friends: that he is a creature of pure mind, with no human tastes or needs at all. It's hard to picture the guy sitting on the fakes with a newspaper.

If we look at the Jekyll and Hyde story as a pagan conflict between man's Apollonian potential and his Dionysian desires, we see that the Werewolf myth does indeed run through a great many modern horror novels and movies.

Perhaps the best example of all is Alfred Hitchcock's film Psycho, although in all deference to the master, the idea was there for the taking in Robert Bloch's novel. Bloch, in fact, had been honing this particular vision of human nature in a number of previous books, including The Scarf (which begins with those wonderful, eerie lines: "Fetish? You name it. All I know is that I've always had to have it with me . . ." ) and The Deadbeat. These books are not, at least technically, horror novels; there is nary a monster or supernatural occurrence on view. They are labeled "suspense novels." But if we look at them with that Apollonian/Dionysian conflict in mind, we see that they are very much horror novels; each of them deals with the Dionysian psychopath locked up behind the Apollonian facade of normality . . . but slowly, dreadfully emerging. In short, Bloch has written a number of Werewolf novels in which he has dispensed with the hugger-mugger of the potion or the wolfsbane. What happened with Bloch when lie ceased writing his Lovecraftian stories of the supernatural (and he never has, completely; see the recent Strange Eons) was not that he ceased being a horror writer; lie simply shifted his perspective from the outside (beyond the stars, under the sea, on the Plains of Leng, or in the deserted belfry of a Providence, Rhode Island, church) to the inside . . . to the place where the Werewolf is. It may be that someday these three novels, The Scarf, The Deadbeat, and Psycho, will be anthologized as a kind of unified triptych, as were James M. Cam's The Postman Alway Ring Twice, Double Indemnity, and Mildred Pierce—for in their own way, the novels that Robert Bloch wrote in the 1950s had every bit as much influence on the course of American fiction as did the Cain "heel-with-a-heart" novels of the 1930s. And although the method of attack is radically different in each case, both the novels of Cain and Bloch are great crime novels; the novels of both adopt a naturalistic view of American life; the novels of both explore the idea of protagonist as antihero; and the novels of both point up the central Apollonian/ Dionysian conflict and thus become Werewolf novels.

Psycho, the best known of the three, deals with Norman Bates—and as played by Anthony Perkins in the Hitchcock film, Norman is about as tight-assed and hemorrhoidal as they come. To the observing world (or that small part of it that would care to observe the proprietor of a gone-to-seed backwater motel), Norman is as normal as they come. Charles Whitman, the Apollonian Eagle Scout who went on a Dionysian rampage from the top of the Texas Tower, comes immediately to mind; Norman seems like such a nice fellow. Certainly Janet Leigh sees no reason to fear him in the closing moments of her life.

But Norman is the Werewolf. Only instead of growing hair, his change is effected by donning his dead mother's panties, slip, and dress—and hacking up the guests instead of biting them. As Dr. Jekyll keeps secret rooms in Soho and has his own "Mr. Hyde door" at home, so we discover that Norman has his own secret place where his two personae meet: in this case it is a loophole behind a picture, which he uses to watch the ladies undress. Psycho is effective because it brings the Werewolf myth home. It is not outside evil, predestination; the fault lies not in our stars but in ourselves. We know that Norman is only outwardly the Werewolf when he's wearing Mom's duds and speaking in Mom's voice; but we have the uneasy suspicion that inside he's the Werewolf all the time.

Psycho spawned a score of imitators, most of them immediately recognizable by their titles, which suggested more than a few toys in the attic: Straitjacket (Joan Crawford does the ax-wielding honors in this gritty if somewhat overplotted film, made from a Bloch script), Dementia-13 (Francis Coppola's first feature film), Nightmare (a Hammer picture), Repulsion. These are only a few of the children of Hitchcock's film, which was adapted for the screen by Joseph Stefano. Stefano went on to pilot television's Outer Limits, which we will get to eventually.

10

It would be ridiculous for me to suggest that all modern horror fiction, both in print and on celluloid, can be boiled down to these three archetypes. It would simplify things enormously, but it would be a false simplification, even with the Tarot card of the Ghost thrown in for good measure. It doesn't end with the Thing, the Vampire, and the Werewolf; there are other bogeys out there in the shadows as well. But these three account for a large bloc of modern horror fiction. We can see the blurry shape of the Thing Without a Name in Howard Hawks's The Thing (it turns out—rather disappointingly, I always thought—to be big Jim Arness tricked out as a vegetable from space) ; the Werewolf raises its shaggy head as Olivia de Havilland in Lady in a Cage and as Bette Davis in What Ever Happened to Baby Jane?; and we can see the shadow of the Vampire in such diverse films as Them! and George Romero's Night of the Living Dead and Dawn of the Dead . . . although in these latter two, the symbolic act of blood-drinking has been replaced by the act of cannibalism itself as the dead chomp into the flesh of their living victims.*