Renoir's 1959 version of the story presents an entirely different view of the Jekyll and Hyde character. Jean-Louis Barrault's evil is not tortured like Fredric March's; in fact, as Mr. Hyde, he becomes our favorite character in the film. He is so very vicious, yet so witty and mischievous, he positively revels in his own evil. Though the film is also sexually outrageous, its emphasis is not on the sexual violence of the Mamoulian version. Critic Tom Milne writes, “The Jekyll and Hyde story transposed to a modern setting affords an excuse for an homage to Renoir's beloved actors, and Jean-Louis Barrault is extraordinary as the evil genius, prancing and twitching like some nightmarish faun on an orgy of destruction. Most of the exteriors were shot on location in the streets of Paris, and the intrusion of this creature lends them a bizarre air of menace.... The Testament of Dr. Cordelier is a fascinating experiment, adapting TV techniques (direct recording, multiple cameras, long takes, thorough pre-rehearsal) to the cinema.”