Author: Howard Jackson

Howard Jackson was born in Merseyside in 1948. He still lives there and has spent most of his life in Liverpool, although he has also lived in London, Nottingham, Glasgow and Preston. He reads, watches movies, listens to music (a lot), supports Liverpool Football Club and climbs hills in the Lake District and Yorkshire. Though not a keen fan of travelling he has toured extensively around Brazil and the Southern States of America. These journeys were a consequence of an interest in Brazilian history and the music of the American South.

JACK THE RIPPER ‘THE DEMENTED GENIUS’

SEVENTEEN– THE LADIES WITH SMILES IN THEIR EYES

 

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As with the body count in the Iraq War, there was disagreement. In the 1880s the police reckoned that there were 8,000 prostitutes in London. Evangelist organisations disagreed and claimed that there were as many as 80,000. The police did underestimate but the evangelists were also culpable. Evangelists had a broad definition of what constituted prostitution, and it included not just the paid mistresses of the English aristocracy but common law wives.   Whatever the definition London had plenty of prostitutes.  Tolstoy and Dostoevsky visited Victorian London and were astonished and disgusted by the numbers of women selling sex on the streets. Both men had used Russian brothels but had not witnessed public spaces defined by prostitution.

If London had an abundant number of prostitutes in 1888, there were a lot of customers to encourage the trade.   London had the City, the docks, the Woolwich military encampment, labour intensive food markets, industry, railways, central government and newly arrived and lonely immigrants.   Men wanted wives who were respectable but needed women who would satisfy desires that had to be kept secret from the mothers of their children.   Either way, women were expected to reflect the conceit of men.  Virgins were popular as both future wives and prostitutes.  Virginity indicated decency in a potential wife. Virginity may have had fetishist appeal for the male customers of prostitutes but it also had hygienic advantages.   The enticingly named Lock Hospital was founded in 1747 to treat venereal disease. As the British Empire spread, lock hospitals appeared elsewhere around the globe. The largest was in India. When the NHS was founded in 1948, Lock Hospital was incorporated into the nationalised service.

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The average age of a prostitute in the Victorian era has been estimated as being between 18 and 22 years. It is impossible to confirm the accuracy of the figures but those able to observe what was happening insist that turnover was high. Prostitutes endured abuse, both physical and economic. Those suspected of being Ripper victims have become famous.   In the 19th Century not all the murderers of prostitutes left identifiable victims. Neither are there adequate records of the suicides of Victorian prostitutes.   There were too many working class Victorian casualties for all the dead bodies to avoid anonymity.   The men who killed prostitutes had used extreme violence well before Jack the Ripper arrived. Mutilated women were discovered throughout the Victorian age and before. In 1806, a dead eighteen years old Elizabeth Winterford had flesh torn from her body. In 1838 Eliza Grimwood had her throat cut and was stabbed in the abdomen and chest. Because of injuries, the corpse of Sissy Aldridge was unrecognisable. She was identified because of the borrowed boots she was wearing.  Aldridge was murdered in 1870.

There is, though, an element of truth in the playful fictions of Thackeray and Fielding.   Prostitution did enable some beautiful young working class women to climb the social scale and acquire an education and what were considered to be refined habits.   One lady wrote an elegant letter to The Times and described how she had been able to fund opportunities for her parents and brothers. To achieve that degree of social mobility a woman would have required industry, confidence, self-discipline and much pragmatism. The less fortunate prostitutes abandoned the career before they were prematurely old. If not, they buckled into degradation. Working class men may have spent less money on prostitutes than their upper class counterparts but, because they formed the majority of the population, most prostitution was between working class men and women.   Prostitution paid for alcohol but the gin also made the work bearable. Many sexual transactions occurred between men and women who were drunk. This increased the risk of violence. Israel Schwartz saw a man throw Ripper victim Liz Stride to the pavement. Used to rough behaviour between men and women, Schwartz walked by.

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Millbank Penitentiary registered 18,000 prostitutes in the 1880s and completed a survey. Of the 18,000 inmates 4,558 had both parents dead and 3,540 had one parent no longer living. 40% of the 18,000 had worked as domestic servants. Prostitution attracted both lost souls and the defiant women who were unable to settle for traditional lopsided social and economic contracts. And there were women who were both lost and defiant. An American visitor to London observed, ‘As to servants and women of the humbler class, (they) were proud of having a gentleman to cover them.’

In every profession destiny and opportunity depend upon mentors. The favoured prostitutes were the mistresses of the aristocracy.   For the rest their fortune depended on the nature of pimps and those who owned the brothels.  Mother Cummins prospered in the early years of the 19th Century. She owned several brothels, and her establishment in St Giles had 200 beds. In 1861 St George’s Southwark had a population of 55,000.   The number of brothels in the District had perhaps decreased by 1861 but at one point the District had somewhere between 200 and 300 brothels.   Shoreditch was more respectable.  Entrepreneurial ambitions there settled for a 100.

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Not all the prostitutes were female. John Saul was implicated in the infamous Cleveland Street scandal. Saul claimed to earn an average of £8 a week. In the 1880s most wage earners had to settle for a pound a week or less. Post office telegraph boys aged between fifteen and seventeen were brought to Cleveland Street. Their customers were elderly men who had income well above that of post office workers. The Cleveland Street scandal occurred in 1889. Sodomy had been illegal from the sixteenth century and punishable by death until 1861. Not all the male or female prostitutes were adults. The price of a child for sex was five shillings.   In some instances the child would be offered by a parent but for homeless and abandoned children prostitution would have provided an alternative to starvation.

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A N WILSON has interviewed Bruce Robinson the author of THEY ALL LOVE JACK.  Halfway through the interview Wilson mentioned that there existed a Harley Street surgeon who had a back room where children could be abused and killed. This particular service cost more than five shillings but it did include removal of the dead body. In his book LONDON IN THE 19TH CENTURY, historian and academic Jerry White devotes no more than a sentence to the murders. He describes the killings as a few and appears to justify his scandalous neglect by saying there were not many press reports. His lack of curiosity about establishment secrets taints an otherwise impressive book.

Technology provided alternatives to prostitution. Books were expensive in the 19th Century but their price did not prevent a significant trade in pornographic literature. Imitating what was happening elsewhere in publishing, pornographic books were exchanged and sold second-hand. Pornographic literature, though, was not available from provincial libraries. William Dugdale was born in Stockport in 1800 and prosecuted several times for publishing obscene material. His activities inspired the Obscene Publications Act of 1857.   Dugdale was a radical and in his early career published political texts. The pornography attracted income, and his radical texts became fewer.   London was eminent in the production of pornographic photography. A police raid in Pimlico of the studios of Henry Hayler discovered 130,000 photographs and 5,000 slides.   Henry, Mrs Hayler and their two sons appeared in some of the photographs.

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While the prostitutes of Whitechapel were obliged to walk the streets their well-dressed colleagues would use the music halls and expensive restaurants. In the less reputable music halls the prostitutes would walk the promenades. In 1847 theatre owners had been compelled by the Lord Chamberlain to ban prostitutes from their premises. This was the age of ‘flagrant lewdness’ when bare breasted prostitutes waved from windows. In the theatres men were often impatient and had sex while they were still in the audience.  The prostitution industry connected restaurants, theatres, brothels, ‘accommodation houses’ and the streets, which may have been why Tolstoy and Dostoevsky were overpowered by the ubiquitous presence of London prostitutes.

After the prostitutes were banned from theatres they moved into dance saloons some of which, like the Argyll Rooms, were built to accommodate soliciting.   William Gladstone used to wait outside the Argyll Rooms so that he could perhaps save one of the fallen women. Waiting also saved him the two shillings entrance fee and the opportunity to lounge on velvet benches, drink, dance and observe.   In 20th Century America more than one jazz musician earned money playing in brothels and other illegal establishments. The Argyll Rooms lacked Louis Armstrong but was famed for its excellent orchestra.   As in the theatres, the prostitutes were forced from the dance saloons. The prostitutes moved to casinos but again were urged to move elsewhere. This was the story of prostitution in Victorian London but it is a worldwide phenomenon.   In 19th Century London prostitution never ceased because its practitioners, customers and mentors were adept at finding new locations and alternative establishments.   The poor of the East End lacked mentors, access to fashionable entertainments and the ability to purchase fine clothes. For the poor it meant dark streets and women risking what happened in Whitechapel in 1888.

Howard Jackson has had seven books published by Red Rattle Books including novels, short stories and collections of film criticism.   If you are interested in original horror and crime fiction and want information about the books of Howard Jackson and the other great titles at Red Rattle Books, click here.

 

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JACK THE RIPPER ‘THE DEMENTED GENIUS’

SIXTEEN– TIME AFTER TIME, USA 1979

 

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Movies are like coffee. They range from entertaining froth to the intense and austere.   Lattes have milk and froth, and sipping them can be a distraction from daily drudge. The espresso is dark and intense. Without the sugar or a cigarette it can be a challenge. The movie Time After Time is froth but it is not a cappuccino. There is no sprinkling of too sweet chocolate. Instead, it is enriched like the best lattes with an extra dose of pungent coffee.   The script is smart, and the movie stands up.   It achieves the impossible. Somehow the actor Malcolm McDowell is sympathetic as the hero H G Wells. The moustache and wire rimmed glasses help McDowell appear serious, sincere and curious.   H G Wells was not without his faults. He wanted an egalitarian society but had peculiar ideas about how people would be made equal. Wells advocated genetic science and controlled breeding to eliminate human imperfection. Thanks to an extra dose of coffee, or the sly and clever moves by writer and director Nicholas Meyer, the audience is persuaded that the human weakness in Wells came later.

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Our old friend Jack the Ripper is the undisputed villain in Time After Time.  The Ripper is a good friend of Wells and a chess opponent. His name is John Leslie Stevenson. The reference to the creator of Dr Jekyll and Mr Hyde helps us realise that Wells and Ripper have much in common. Both are self-possessed and uncommon men.   Wells wants to create, and the Ripper wants to destroy. In his worst performances the actor David Warner resembles the kind of man who does not know how to leave University, the middle-class Briton who is too snotty to grow up. McDowell is capable of the same shallow superiority, which may be why McDowell as Wells and David Warner as the Ripper make such good foils in Time After Time. At his best Warner can be subtle and complex. In his eyes there is both darkness and disappointment. Warner introduces us to a man haunted by his depravity but also disappointed by a violent world that reflects his own unpleasant appetites.  If he feels superior, it is because he does not pretend to be blind to the depravity. In a confrontation with Wells, the Ripper grabs the TV remote and forces Wells to see the world and the human race as it really is. The scene works because not all of the violent examples are extreme. The different shots exist as protest that challenges the high-minded puritanism of Wells. David Warner even has a sympathetic moment at the climax of the film. We observe a man of strength who needs relief from his own evil.   Unable to be a saint he is obliged to be a devil. All of this happens in a light escapist thriller.

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The plot of Time After Time has time travel, Jack the Ripper, H G Wells as the detective or Sherlock Holmes substitute and the feminist counterpoint of, what was in 1979, a modern and independent American woman. These elements cannot be described as routine.   The plot mechanics, though, are rudimentary. Jack the Ripper escapes in the time machine of H G Wells who follows him to 1979 San Francisco. Wells is bewildered by the consumerism of 70s America. A passer by says that Wells thinks he is in Disney World.  Despite the bemusement Wells traces the Ripper. He enquires at different banks about a man who has exchanged old British currency.  In the process he meets the American woman Amy, has sex and falls in love. They have to find the Ripper to prevent him killing more women.  Inevitably, Amy becomes the target of the Ripper. Wells not only has to save the life of Amy but convince her that there is some truth in his nonsense about time travel.   The plot is rudimentary because it exists in separate sections. Man wanders around foreign country, man meets girl, man chases other man, Ripper retaliates and so on.   The romantic interlude feels like the middle eight in a pop song. The charm and appeal of Time And Time is in the overall concept and detail. The framework is crude.

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Mary Steenburgen is irresistible as Amy.  Her performance is loaded with charm.   Steenburgen is a modern girl but we can also imagine her in another age.   The actress has a dizzy strength. The romance between Amy and Wells is unbelievable but they are likeable and share some smart dialogue. We root for them. The decision by Amy at the end of the film will offend many women of today. The career and destiny of the male take precedence. We do hear Amy say she will change her name to Susan B Anthony, and because Anthony was a woman rights activist the implication is that Amy will not settle for being an appendage to H G Wells. The reference to Anthony, which was inspired by the real life Amy changing her name to Jane, is too obscure. A line of dialogue insisting upon gender emancipation would not have gone amiss. Yet it is heart warming to observe H G Wells and Amy together in the time machine and in love.   In the rest of the film the couple are often seen in long shot, as if they are swamped by both time and an age to which neither belongs.   Together they have achieved an intimacy that defies the intrusion of fate and others. That sound might heady but Time After Time really does have a happy ending. Steenburgen and McDowell married after they had finished the film. They divorced nine years later.

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Nicholas Meyer wrote and directed Time After Time.  His novel The Seven Per Cent Solution made him famous and led to well-paid work in the cinema. The novel by Meyer featured Sherlock Holmes but was blessed with a radical reimagining of the nature of the famous Detective.   Meyer was born and raised in New York. If he was inspired by the Victorian age, it appears to have been a phase. Later in his career he directed two Star Trek movies. His knowledge of Victorian fiction, though, taught him a few tricks and good taste. The opening scenes in Victorian London pay homage to the gothic traditions. There are the familiar cobbled streets and picturesque white fog. But there are also innovations. The encounter between the Ripper and the London prostitute has an erotic edge that is not weakened because the viewer does not see the sex. The Ripper carries a pocket watch that is musical. The watch has other functions. It identifies the Ripper, adds a poignant effect to the opening murder scene, hints at the theme of the movie and is the device that aids Amy and Wells in the final confrontation with the Ripper. Having the watch help Amy escape from the Ripper is clever, and the idea is loaded with symbolism but the effect is weakened by poor editing.

The same flaw is evident in what could have been an interesting car chase. Overall, though, the light touch of Meyer prevails. A fine example occurs when Amy discovers that the nonsense about time travel previously spouted by Wells is actually true. The moment is brief and silent but we recognise the relief of Amy as she obtains proof that the man she loves is not crazy.   Doubt is replaced by faith. A similar revelation occurs in the Hitchcock disappointment Torn Curtain. In that film Julie Andrews discovers that her fiancé Paul Newman was only pretending to be a traitor.  Julie Andrews does not help him but Hitchcock overplays the scene. In Time After Time the revelation is subtle and there is space for the audience to imagine what Amy feels.

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Movies about time travel have a tendency to trip over their cleverness.   With the ability to travel through time Wells has a simple option for dealing with the threat of the Ripper against Amy.   We have to go back in time says Wells. He does but Amy could have stayed in the future where she was safe. The two reverse time because without them back in the past there would be no movie.   Yet Meyer mainly makes the right calls.   The time machine is driven by solar power.   The opening credits are accompanied with music by veteran Miklos Rozsa, and the Disney feel of the film suits the consumerism of modern America.   The special effects have dated but indicate imaginative skill. Swirling smoke represents the fourth dimension, and as the time machine makes its journey, we hear random extracts from the soundtrack of the twentieth century. The words are more than mere history. They establish the impossibility of the utopian dream of Wells.   For contentment he will have to rely on romantic love. His adoration of Amy is what saves Wells from disillusionment. But we also remember what the Ripper told Wells when they were reunited in San Francisco. The Ripper may be remote from the rest of us but Jack and his fellow serial killers understand that the violent modern world is the place they can call home.

Howard Jackson has had seven books published by Red Rattle Books including novels, short stories and collections of film criticism.   If you are interested in original horror and crime fiction and want information about the books of Howard Jackson and the other great titles at Red Rattle Books, click here.