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MENACE TO
SOCIETY
FROM HELL (R) In 1993, Albert and Allen Hughes
(barely 21 years of age at the time) stormed onto
the scene with Menace II Society, a powerful
debut that never found the huge success of the
John Singleton's similarly themed, yet more
socially instructive, Boyz N The Hood. The brothers
followed with mixed reviews for 1995's Dead
Presidents before returning in 1999 with American
Pimp, a highly publicized documentary that never
received a wide release due to its controversial
content. Now, the Hughes brothers have finally
returned to multiplexes with From Hell, a movie
about the infamous serial killer Jack the Ripper.
The story comes from British writer Alan Moore,
the author of some of
the most highly revered
graphic novels in
recent history. While
many critics expressed
curiosity over this
career move, the
Hughes brothers
quickly responded by
pointing out that while
these characters may
live in another country
and in a different cen
tury, they also live in
the ghetto, which is a
familiar place for the
streetwise duo.
The movie begins
with a bnef introduc
tion to the Ripper's vic
tims, all of whom are
prostitutes. The group is led by Mary Kelly
(Heather Graham V), who tries to protect herself
and her friends from their threatening pimps.
After one of the girls turns up dead in a grisly
murder, the British investigators turn to Inspector
Abberiine (Johnny Oepp A—who feels at home
here after Sleepy Hollow), a struggling opium
addict whose past visions have helped him solve a
number of baffling crimes.
Although not as affable or charming, Abberiine
is perhaps akin to "Twin Peaks" Agent Dale
Cooper, who also relied heavily on his own dreams
suits Dr. Gull about possible suspects. Gull agrees
that Abberiine should be searching for an edu
cated man, one who is extremely knowledgeable
of human anatomy, as the killer must work under
the constrictions of both darkness and time.
While the material itself might be rather pre
dictable, the Hughes brothers make every attempt
to revitalize it with a fresh perspective. Assuredly
influenced by the graphic novel, the brothers
attempt to translate the mood and atmosphere
onto the screen, often with mixed results. With
comic book editing, there are quite a few scenes
that alternate between long shots of characters
moving around within rooms—their bodies
enclosed by the walls,
floors, and ceilings—
before cutting to more
emotional close-ups. In
other shots, a floating
camera drifts along the
grimy streets of the dark
city, capturing inter
esting angles and per
spectives. There are a
number of shots in From
Hell that begin with a
gorgeous red sky before
the camera descends
upon the black city
below (on one occasion
dipping beneath the
cobblestone roads to a
scene underground).
However, the movie
foregoes suspense in
favor of style, and the lack of characterization
(especially of Mary Kelly) hurts the film overall.
Though the Hughes brothers were expected to
bring an interesting cinematic perspective to this
material, many were wondering how they would
handle the social perspective. What would two
African-American men bring to a story set in 19th
century London with little or no black characters
in the source material? Rat ier than creating a
token black character, the Jrothers wisely address
the issue of race without including a black char
acter at all. When Abberiine discusses possible
during his investigation. Because of his dubious
background and his present status. Abberiine is
not well respected by many members of the police
force. His only ally comes in the form of Sergeant
Peter Godley (Robbie Coltrane), a man well aware
of Abbertine's past accomplishments and
exhausted by the lack of progress of his own
investigation.
Meanwhile, Sir William Gull (Ian Holm) leads a
group of doctors in their groundbreaking studies
of the human brain and in their recent introduc
tx>n of the tobotomy as a method of "curing"
mental patients After learning that the Ripper's
victims are missing certain organs. Abberiine con-
suspects with his superior officer, the officer sug
gests looking for "red-faced Indians" or perhaps a
Jew. Following Spike Lee's subtle lead in Summer
of Sam, the brothers show how people suspect
and fear others different from themselves.
Though not a complete success. From Hell is
definitely worth seeing, especially on the b*g
screen where the stnking cinematography has its
greatest effect. Again, this is another example of
why the studios need creative people behind the
scenes, as the results will always be interesting,
and never a complete failure
Michaal Ziagltr
THE GEORGIA BAR
Secret of the Universe
est. 1986
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