(1960) The film is notable for showing Jekyll transform into a female Hyde; it also incorporates into the plot aspects of the historical Jack the Ripper and Burke and Hare cases.

Susan becomes jealous when she discovers this mysterious woman, but when she confronts Jekyll, to explain the sudden appearance of his female alter ego, he calls her Mrs. Edwina Hyde, saying she is his widowed sister who has come to live with him.

Jekyll asks Susan to the opera; however, when he is getting dressed to go out, he unconsciously takes Mrs. Hyde's gown from the wardrobe instead of his own clothes, realizing that he no longer needs to drink the serum in order to transform.

"[3] The Monthly Film Bulletin wrote: "The idea of adapting Jekyll and Hyde for the age of the polymorphous perverse could easily have misfired in the wrong hands, but for the most part director Roy Ward Baker manages the whole thing superbly.

The plot is a kind of pot-pourri of Victorian archetypes, containing not just the Jekyll mythos but Jack the Ripper as well as Burke and Hare; and although there are plenty of covert jokes on Psycho lines ("He hasn't been feeling himself lately"), the overall tone remains refreshingly straight.

Obviously the production suffers from the old Hammer problems of low budget and short schedule, but Baker and his cameraman Norman Warwick have done a lot to make the film visually attractive, and this goes some way towards compensating for the deficiencies of the script.

[5] George R. Reis from DVD Drive-In gave the film a positive review, writing, "In the hands of most filmmakers of the time, such a gender-bending theme would call for maximum exploitation tactics, but not with Hammer.

[6] Variety called the film "highly imaginative", further writing, "Director Roy Ward Baker has set a good pace, built tension nicely and played it straight so that all seems credible.