Edge of Sanity

Anthony Perkins was the most unlikely of horror icons.  With a reputation cemented by his performance in essentially one film (a curse of the horror genre) it took decades for the actor to embrace the legacy of Norman Bates with a surprisingly good trio of sequels, all of which avoided comprising the character – or the actor’s – integrity.  1989’s Edge of Sanity, an anything-goes amalgamation of Jekyll and Hyde and the London “Ripper” murders, gives Perkins his last meaty role (the actor passed away in ’92) and shows he was still adept at inhabiting tortured souls at the mercy of their baser instincts.

While experimenting with a new anesthetic, Dr. Henry Jekyll (Perkins) unlocks a door into his own childhood trauma, giving birth to a split-personality he names Jack Hyde.  Prowling the streets of London to satisfy his twisted sexual fantasies, Hyde leaves a trail of dead prostitutes dispatched with surgical precision.  Ironically, Jekyll is called to aid with the investigation while struggling to resist the addiction that spurs on his nightly debauchery.

 

Produced by the legendary Harry Alan Towers, Edge of Sanity is an odd mix of Victorian horror, slasher tropes and Ken Russell-esque sexual fetishes all shot with an ‘80s music video aesthetic.  It’s rather obvious that Hungary is standing in for foggy London town and the film feels hamstrung by a budget that’s likely someone’s tax write-off.  But it’s an interesting take on the material anchored by Perkins’ courageous performance.  Physically, his transformation into Hyde is accomplished by nothing more than white pancake make-up and emo bangs, but the actor latches on to the perversity (mostly) just suggested in the script, turning the literary monster into a bad guy worthy of a Batman film.

 

Arrow Video’s special edition Blu-ray does wonders with the film’s glossy MTV production design (seriously…it looks like they had to wait for Billy Idol to wrap up before they started shooting).  The brand-new 2K restoration is accompanied by a new audio commentary, interview with authors Stephen Thrower and Dr. Clare Smith and archival material from director Gerard Kikoine.

 

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