No Man is an Island

Adapting H.G. Wells’ novel “The Island of Doctor Moreau” for the screen, Paramount’s 1932 film Island of Lost Souls is not nearly as well known as the Universal horror pictures that were released around the same time (Dracula, Frankenstein, The Invisible Man), though it most definitely should be.

Though H.G. Wells despised the picture and its overt horror elements (which he felt got in the way of the true message of his book), it has become known as the premier adaptation of the classic novel – though it was banned three times in Britain for its depiction of vivisection.

Adapted by Waldemar Young and Philip Wylie, and directed by Erle C. Kenton (The Ghost of Frankenstein, House of Frankenstein, House of Dracula), the cautionary tale follows shipwrecked survivor Edward Parker (Richard Arlen) as he is picked up by a trading vessel. Treated by a dour doctor, Montgomery (Arthur Hohl), the newly resuscitated man discovers an odd array of animals on the ship.

Asking to be dropped off at the nearest port so that he can meet his panicked fiancée Ruth Thomas (Leila Hyams), disgruntled Captain Davies (Stanley Fields) – who is less than pleased to have been knocked out by the man, who was protecting a servant from the captain’s drunken behaviour, throws Parker overboard onto another vessel, forcing the also disembarking Montgomery and his superior, Dr. Moreau (Charles Laughton), to deal with him.

Entering the uncharted isle along with Dr. Moreau, Parker witnesses a large number of disturbing looking natives inhabiting the locale. The doctor utilizes his whip to keep them at bay. Entering Moreau’s fortress-like abode, the man is invited to spend the night.

The mysterious Moreau, a tough man to read, promptly introduces a fetching and scantily clad woman named Lota (Kathleen Burke) to the guest. Throughout the night, ominous sounds are heard from somewhere in the compound. Soon, Parker discovers that Moreau is conducting illegal experiments on the beasts seen in the forests (without anaesthetic) – revealing that he has been using some sort of horrific process to transform animals into these man-like creatures. The room is fittingly called the house of pain.

His first thought is to escape, so he grabs Lota and flees into the shadowy, eerie forest. Rapidly ambushed by the beasts, the twosome are soon rescued by the doctor, who reminds his creations of the ‘law’. Vehemently expressed by the Sayer of the Law (Bela Lugosi), in response to their master’s query of “What is the law?”, we hear: “Not to eat meat, that is the law. Are we not men? . . . Not to go on all fours, that is the law. Are we not men? . . . Not to spill blood, that is the law. Are we not men?”. Their utterance of ‘are we not men’ is seemingly rhetorical, as these tortured souls are desperately hoping for their master’s approval and acceptance that they have become what he so wants them to be.

Getting to the bottom of Captain Davies’ treachery, Ruth is able to enlist the aid of another Captain, Donahue (Paul Hurst), who will take her to the island. With two new guests under the roof of Moreau, his deceitful ways do not subside. Will Parker and the unknowing new arrivals be able to escape the dangerous, secluded isle, or will Moreau keep them in his maniacal grasp?

Filmed in the pre-Hays Code era, this little gem is filled with rich, edgy chills. Featuring a deliciously sadistic and vile performance from Laughton, he is subtle and nuanced in a way that is quite rare for the iconic actor. Moving in a childlike way, it is rivetting to watch the man prance around his compound, laying on beds and leaning on beams as he nonchalantly discusses his experiments with Parker. With an obvious God-complex, his disregard for others will probably catch some off guard. Torture, rape, slavery and manipulation are just part and parcel of the man’s plan; nothing is off limits when it comes to scientific experimentation. It seems like a naughty little touch that he is always dressed in the whitest of white suits.

Though Laughton is at the heart of it all, each actor is perfectly cast in this one. As the antithesis of Moreau, Arlen’s Parker is superb as he realistically reacts to the shocking discoveries that he witnesses on the island. Lugosi is excellent as the Sayer of the Law, as his rich, pained voice altogether encapsulates the horror that these beasts have gone through (luckily for us, he joined the project at the last moment, starring for just over 800 dollars due to bankruptcy). The two female leads are topnotch as well. Hyams plays a high-class, refined woman, while Burke’s persona is a worthwhile counterpunch, as her more animalistic behaviour is equally as enticing. Finally, Hohl is able to capture the lost soul of a man in Montgomery. A drunkard who was has fled his home, he is fractured, grim and unfeeling in his place in life.

Featuring wonderful use of shadow and light, Kenton and his team deserve the utmost credit. Each shot is excellently executed, with different shades making it feel as though those residing on the island are trapped behind bars – concocting an eerie atmosphere. Using reflection in water and mirror along with shadow and light, this vivid film is a wonderful example of why black and white can be infectious in a way that colour cannot match.

The artistry of the makeup must also be placed in the spotlight. With no CGI, it feels utterly believable and real as we watch the beasts stalk their prey in the woods. Being one of the larger hair and makeup projects of that era, fifty plus individuals were done up in the most disturbing fashion – disfigurations, intricate beards and hair, claws, hooves, and other such additions were used in the most depictive ways.

I would be remiss if I did not mention the influence the movie has had on the cult rock/new wave band Devo. Taking many of their ideas of de-evolution from the horror film, their song “Jocko Homo” might depict the motion picture’s biggest influence on them, as the group often repeat the phrase “Are we not men? We are Devo!” – which is also the title of their debut album.

With an apropos ending that is murderously macabre, Island of Lost Souls is a fitting feature for a cool fall evening. More scary and horrific than the Universal monster movies of the era, this one will give you chills. So, check out this unnerving motion picture so that you can rip to shreds the age old perception that classic horror films are boring and lack fright.