Another Look at Jack

He is fear and darkness.

The first tabloid star of the twentieth century, he remains the most notorious and enigmatic killer in history.

Jack the Ripper committed five heinous murders during a ten-week span in London in the fall of 1888, creating a frenzied atmosphere of gossip, rumor and terror. He was never caught.

Based on a popular graphic novel, From Hell puts an intense psychological spin on the horrific legend of Jack the Ripper and unravels a chilling conspiracy involving the highest powers in England.

Starring Johnny Depp, Heather Graham, Ian Holm, Jason Flemyng and Robbie Coltrane, the movie’s principal locations include several historic castles outside Prague and a large re-creation of the Whitechapel district of London where the murders occurred. Constructed on a 20-acre site near the famed Barrandov Studios, the Whitechapel set is an accurate rendering of the buildings and narrow cobblestone alleys of the infamous area where five indigent prostitutes met their grisly fates.

From Hell, referring to the return address on a letter penned by the Ripper, is about people who are in hell, trying to survive the grimmest circumstances. At the core are five impoverished prostitutes who share a desperate friendship, drawn tighter as their ranks are terrorized by a gruesome murderer.

Mary Kelly (Heather Graham), Kate Eddowes (Lesley Sharp), Liz (Susan Lynch), Dark Annie Chapman (Katrin Cartlidge) and Polly (Annabelle Apsion) exist on the brink, earning a meager living with their bodies in a society that concurrently dishonors and feeds upon them. Owning virtually nothing of value, they are threatened by a monster that would steal from them their only possession: existence.

The women awaken after a fitful night’s sleep tied together on a bench–an uncomfortable option for those unable to afford a bed. The landlord arrives in the morning to untie the rope and return them to the streets where they must earn money for food and shelter for the coming night. It is a harsh, unrelenting cycle of survival.

"The lives of these women are gruesome and dark," remarks Lesley Sharp. "Their day-to-day existence is always under threat–from pimps, violent johns, street criminals, disease and addictions."

The lone authority seemingly concerned with protecting these "unfortunates," otherwise viewed as expendable, is Inspector Fred Abberline (Johnny Depp). Abberline, however, is himself aggrieved. Tormented by unendurable memories, he seeks temporary escape with opium. His addiction heightens spells of clairvoyance that lend both insight and incapacity.

"Abberline has been beaten up by life," says Johnny Depp. "He lost his wife and child, and relies on self-medication to get through the day." The Inspector, promoted out of Whitechapel after years of service, finds himself assigned once again to the seedy district to lead the Ripper investigation.

Says executive producer Amy Robinson, "Abberline is a character reminiscent of the protagonists of classic nineteenth century novels. He is a flawed hero enduring an enormous internal struggle while trying to cope with horrendous unfolding events."

The Inspector is aided in his troubled investigation by the imposing Sgt. Godley (Robbie Coltrane), a loyal friend who takes a strong hand in caring for Abberline when he "chases the dragon".

"Godley is a straightforward Scottish cop who draws conclusion from concrete evidence," says Coltrane, "such as a blood-stained knife and eyewitness accounts. He’s intrigued by Abberline’s intuition and unorthodox methods. It’s contrary to Godley’s nature, but he accepts Abberline’s visions as genuine and feels compelled to act on them."

Says Johnny Depp: "Godley is the only person in the world that Abberline listens to and respects. Godley keeps him alive, watches over him. He’s his closest friend."

As the Whitechapel murders escalate, the two men are thwarted by superiors more interested in sweeping the crimes under the rug than finding the killer. The sole exception is the renowned Sir William Gull (Ian Holm), a physician to the royal family, and a powerful enough figure to assist the shunned Inspector.

"It is certain to Gull that these murders are being committed by someone with medical knowledge," states Ian Holm. "The killer possesses surgical skills beyond those of a butcher or laborer. His killings involve bizarre, terrible ritual."

Gull advises Abberline on the instruments likely being used and the probable manner in which the murders are being conducted. With his guidance, Abberline is able to deduce that the killings are part of a menacing conspiracy involving the Order of Freemasons, who are in turn acting on behest of the monarchy itself.

The Freemasons are an enigmatic, cult-like organization whose members throughout the years have included some of the wealthiest, most powerful men in the world. Freemasons have been the subject of numerous conspiracy theories, owing to their mysterious initiation ceremonies and sworn oaths of secrecy.

The notion of a Crown conspiracy in the Jack the Ripper murders has long been advanced by various factions in Europe, where the case holds as much fascination for the British as does the JFK assassinations for Americans. Royal responsibility is espoused in Alan Moore’s acclaimed 1999 graphic novel From Hell, originally published as a ten-part series in the anthology periodical Taboo. The strips, which feature drawings by artist Eddie Campbell, were optioned by producer Don Murphy.

Moore’s novel was adapted into a screenplay by Terry Hayes and Rafael Yglesias, with the latter viewing the conspiracy angle more metaphorically.

"Whether the British monarchy was literally involved in the Ripper murders doesn’t diminish the power of the accusation leveled at the ruling class," says Yglesias. "That the authorities refused to even consider the possibility that the suspect might be wealthy speaks volumes about the Victorian era. Society’s ills were viewed exclusively as the fault of the poor and the lower class."

As a member of that lower class, as well as a prostitute, Mary Kelly is unaccustomed to the company of "respectable" men, at least when she’s not working. Distrustful and wary of being used, she initially rebukes Abberline’s investigation.

"Girls working the streets had their guard up," says Allen Hughes. "Mary Kelly views Abberline as just another guy who wants to use her. His decency and sincerity eventually break down her defenses and she begins to trust him."

As their relationship deepens, a far more threatening barrier than social mores and class distinctions stands between them. A dagger of conspiracy and ruthless intent is pointed at their hearts, and it is held by the hand of a butcherous madman destined for the pages of history.

In retrospect, the Ripper’s claim that he gave rise to the twentienth century, ushering in a new era of pulp press and cult of celebrity, has been borne out. British tabloids were instantly enamored with the story, which has since become legend.

Johnny Depp, who is very familiar with the case, remarks, "Before Jack the Ripper, there were a few hundred newspapers in London. At the height of his murder spree, thousands of additional papers emerged." Jack the Ripper, created in part by the press, became its first "tabloid star."

The Ripper case also advanced police forensics, which was in its infancy in the 1880s. Says producer Allen Hughes: "At that time, if the police didn’t catch you near the body with blood on your hands they couldn’t likely convict you. There were no standard procedures for fingerprinting or blood tests. But this case helped bring about the development of new scientific procedure and tools for apprehending criminals."

Jack the Ripper, of course, was never apprehended. It is the mystery of his identity, his daring to commit heinous murders in public places, and his ability to slip back into the night that has intrigued the public for more than a century. "He’s the perfect nemesis for a movie," admits Coltrane.

Adds Hughes: "The victims of Jack the Ripper have never been humanized. We want to give them life. They weren’t just casualties. They were human beings."

From Hell opens in Metro Manila theaters on Feb. 6.