From Hell: Engraved In Stone

i didnt think i would like the black and white but after watching the edit i loved it and think the movie should have been released that way in the 1st place.great job with this edit done by TM2YC and thanks for your time and effort i really enjoyed watching this

Brilliant edit. The black and white conversion works like a gem. Reminded me of the gothic atmosphere of David Lynch's The Elephant Man. The original film couldn't figured out whether it was a thriller, a satire or a supernatural flick. TM2YC has given this film a solid personality. Now we can indulge in all the darkness, the innate evil characters and the social satire without the distractions. The removal of the lighter storylines and the inclusion of the darker deleted scenes results in a more focused film. Highly recommended.

Just finished watching this last night.
Very, very fine work.
Audio and video editing appeared seamless. No oddball scene jumps, no sudden shifts of audio levels.

The overall tone of this edit was grim, more so than the original, which I believe was by intent.
The "look" was more grindhouse than films meant to be that way.
The film was dark. I mean that literally, the look was very dark with lots of blacks, grays, shadows, and little white. The black seemed to deepen as the film / narrative progressed. By the end my eyes were fatigued. When I rewatch this, I will undoubtedly increase the Brightness on my monitor. Just a comment.

Nice bit of removal during closing credits. Marilyn Manson was completely inappropriate. Antony & The Johnsons was a nice choice, though perhaps a trifle obscure for the average listener. The Smiths, less so. Still welcome adds.
Overall, a great edit, one I think a lot of members will appreciate.

The original From Hell had the unenviable task of trying to adapt an Alan Moore story...no easy task at the best of times, and even worse to boil down 9 years of publications filled with liner notes and easter eggs. Like a mad genius or an obsessive savant - or likely a combination of the two - Moore had imagined the interwoven lives of a couple dozen individuals and how it lead to an infamous series of murders that can only be called conspiracy of the highest order. The film script attempts to preserve the lyricism and detail of Moore's work while also giving a less-cerebral audience some emotional investment and entertainment value. It's safe to say that the filmmakers managed only mixed results at this probably-impossible task.

TM2YC tries here to give us a film version closer to Moore's original work, and in that I think he succeeds. As written in the notes, the material available simply doesn't allow a truly accurate rendition of the graphic novel, but what's here is certainly closer. The look of the film is jet black like the comics, and the tone is grim and dry. I'd say that (as written in the notes) the visual quality of the film does suffer somewhat from this conversion, and that does make some of the scenes seem a bit too visually-extreme for me (demonic eyes, for example). I also remember spending much of the film on first watch just trying to figure out what the hell was happening. Here, the narrative is streamlined and, I thought, almost telegraphed from the start. It'd be ideal for a first-time viewing, less-interesting on a re-watch.

All that said, I don't think this actually makes it much BETTER of a movie than the theatrical cut. This is the problem with adaptations... a more accurate one isn't necessarily better for the new medium. The film as-is still retains all kinds of bits and bobs that weave an amazing tapestry in the graphic novel but just seem incredibly contrived and half-baked in the movie. The romance is still undercooked and honestly comes almost out of nowhere here, and our detective has had his character gutted and so we have little emotional attachment to him. The "alternative" ending for me was better, as it paid off the sudden introduction of a new prostitute, and it gave some satisfaction for the only character that really had an arc: Mary Kelly. However, the film as a whole is quite straightforward and uninvolving in this form. It's not a work of suspense, and there's not really enough horror...it's a mystery more than anything, but not one with clues that a viewer could logically work out unless they have a lot of previous knowledge.

I think my preferred edit of the film would be more radical, lots of cutting, rescoring, maybe playing with flashbacks during investigations. I don't honestly think a great adaptation of Moore's work is possible, so better to just make it a great movie of its own. That said, that's not the intention here, so I have to judge this on its own merits: which are plentiful. It's a well-executed and creative work that is indeed more faithful to the original material. If that's what you're looking for, you should definitely give this a watch.

I just watched this last night. It's been a good while since I watched the original from hell, so I can't say much as to the changes. I watched with 2 other people, and no one noticed anything out place. I went back to check the cutlist. I never would have guessed how much of the film came from deleted scenes. That's truly invisible editing. Great call on ditching the Manson song. I can't even imagine it over the credits.

The biggest change is probably the colouring.. It's gorgeous throughout, and makes the whole town seem more threatening and cold. There's one shot towards the end where Ian Holm's eyes go jet black like Bela Lugosi, which is reason enough for the change.

Well worth the time, and It'll probably be less time til my next viewing. Well done to Tm2yc.