The Limehouse Golem (2017)

Review

109min

Genre:       Drama, Mystery, Thriller

Director:    Juan Carlos Medina

Cast:         Bill Nighy, Olivia Cooke, Douglas Booth…and more

Writers:     Peter Ackroyd & Jane Goldman

-Synopsis-

Before ‘Jack the Ripper’ stalked the seedy streets of London, another brutal and mysterious spectre plied its sinister trade in the East end— the infamous and mythical ‘Limehouse Golem’—preying on the downtrodden residents of the Victorian English capital. Now a determined detective must unravel a mystery involving some familiar names, while saving an unfortunate young performer caught up in this deadly game of cat-and-mouse, in a big screen adaptation of Peter Ackroyd’s British period murder-mystery novel.

Long have readers and audiences held a macabre fascination with serial killers, their dastardly deeds and incomprehensible motivations, and no murderer has proved more iconic than London’s own Ripper—the inspiration for Ackroyd’s acclaimed novel ‘Dan Leno and the Limehouse Golem’, a dark mystery featuring historical figures and a period aesthetic. Now novice Floridian director Juan Carlos Medina and screenwriter Jane Goldman (Kick-Ass, Kingsman: The Secret Service) adapt the 1994 novel, tweaking the central focus and giving it a contemporary social twist, serving audiences a dark and taught period drama with a major sting in the tail.

Up-and-coming British star Olivia Cooke stars as ‘Lizzie Cree’, an unfortunate aspiring actress and music hall star who gets caught up in the mysterious death of her husband ‘John’ (Sam Reid)—himself one of several literary suspects in the Golem murders—and must rely on the efforts of Scotland Yard detective ‘Kildare’ (Bill Nighy) to solve two mysteries and exonerate her. But as she recounts the story of her rags-to-riches rise under the tutelage of music hall legend ‘Dan Leno’ (Douglas Booth), Kildare is plunged into a race against time to unravel a complex conspiracy . . . where not everything is as it seems.

‘The Limehouse Golem’ unfolds along a twisting, paranoid non-linear narrative and as a pseudo-gothic murder-mystery thriller with horror undertones, as new characters are exposed in the present and through sustained flashbacks of the recent past, all revolving around the experiences of Lizzie Cree . . . and where everyone is a suspect.

The film no doubt looks the part, atmospheric and beautifully shot by British cinematographer Simon Dennis, often in the shade and low light, and it’s perhaps no surprise that this British period piece boasts immaculate costumes and top-notch production designs which expertly capture a microcosm of Victorian London. And the capital’s music halls have never been more vividly depicted in film, giving us a glimpse of working-class 19th century variety entertainment at its finest—the Victorian equivalent of concert hall-meets theatre-meets bar-meets comedy club.

Whether as a Brit or an American, in drama, horror, thrillers or poignant comedies, Olivia Cooke continues to prove a versatile young talent, here anchoring the film as a wronged and beaten but never broken Victorian urchin-turned-lady, while Douglas Booth delivers a both nuanced and colourful turn as the flamboyant music hall star—and Bill Nighy is charming as always, despite being slightly constrained as the straight-laced sleuth.

Despite a few violent overtures and some very occasional gore, ‘The Limehouse Golem’ only masquerades as a true horror film and has a distinct lack of genuine tension or menace, which makes it a competent thriller at best. Instead Medina and Goldman focus on the character drama and intrigue in a narrative that feels slightly familiar, and a mystery which begins to drag in the third act and becomes slightly predictable as it unfolds, all the way to the major twist and final reveal.

Ultimately what separates this well-crafted 19th century murder-mystery from other period pieces is the wider context which the characters and the narrative reflect, putting a socially progressive spin on the Victorian drama/thriller while weaving-in a not-so-subtle feminist parable about equality, the strength of women to endure, and ‘smashing the patriarchy’ as the kids say . . . in its own distinctly dark manner.

Yet for all the style, the twists and new perspective on a familiar narrative, ‘The Limehouse Golem’ is neither horrific enough nor a thrilling enough thriller make it entirely gripping or leave a lasting mark, instead working better as a slightly macabre character drama and period murder-mystery with a clear social message (although with dubious moral justification)—leaving the audience guessing and entertained without ever truly delighting or enthralling.

The Bottom Line…

Although not as menacing or gripping as the subject matter might suggest, Juan Carlos Medina’s stark, stylish and socially conscious Victorian gothic murder-mystery has the craftsmanship, the performances and just about enough intrigue to make for an entertaining and reasonably lurid period drama/thriller—with a few twists and a sting in the tail.

Similar films you may like (Home Video)

From Hell (2001)

In a gruesome mystery/thriller set in the height of decadent Victorian London, Johnny Depp stars as troubled police inspector ‘Abberline’; charged with investigating the infamous “Jack the Ripper” murders as the body count mounts and suspects ranging from vagrants to royalty emerge, leading Abberline down a dark path to find a killer that is truly “From Hell”.

Directed by The Hughes Brothers and starring Johnny Depp, Heather Graham and Ian Holm among others.

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