The chilling and legendary gothic novella The Strange Case of Dr. Jekyll and Mr. Hyde written by Scottish author Robert Louis Stevenson and first published in 1886, has proven to be a particularly durable narrative for cinema and television to mine. Unfortunately the commercial imperatives of the marketplace, not to mention the conventions of narrative cinema, have often compromised its translation from page to screen. Perhaps most prominent in cinematic versions is the need too include a romantic sub-plot. The original novella is remarkable for its total lack of female characters. The second notable alteration is the need too include a special effects driven sequence illustrating the transformation Jekyll experiences when he morphs into the wicked Mr. Hyde. This aspect of the adaptation has taken on a prominence in the narrative that far outweighs its importance. For their 1971 take on Stevenson’s tale Amicus Productions, with a screenplay by co-founder Milton Subotsky, bravely removed the romantic underpinnings of past versions, and in a further act of bravery or perhaps desperation, gave the directing duties to young newcomer Stephen Weeks.