Island of Lost Souls
H.G. Wells’ The Island of Dr. Moreau has spawned a variety of adaptations, official and unofficial, but the first is still the best. Island of Lost Souls, for one thing, is in black and white. That might be the secret ingredient. Most of the other film versions were shot in color, but this one is gray and grainy, and the jungle is cloaked in deep rich shadow. Director Erle C. Kenton has no particular flair, but that’s okay for a story like this, which is quite freaky enough without stylistic curlicues. Kenton stays out of the way while master cinematographer Karl Struss lights the island of Dr. Moreau as a subtle hell of half-seen atrocities. The movie has a queasy documentary vibe — there isn’t even any score except at the beginning and end.
Charles Laughton oozes into frame as Moreau, a dominant sadist who even wields a whip. Laughton sneaks all sorts of perversity into his performance through a dark side door. Moreau has created grotesque man-animal hybrids, but why? So he can have bestial slaves to serve him in the jungle? Moreau’s pride and joy, his greatest creation, is Lota the panther woman (Kathleen Burke). When fate brings shipwrecked Edward Parker (Richard Arlen) to the island, Moreau’s interest in Edward is mostly limited to trying to get him to mate with Lota. Let that sink in: A woman who used to be an animal — who in some respects still is — being groomed to have sex with a human male. This is a 1932 film, remember. No wonder it kicked up such a ruckus in America and in England (where it was banned for years because of its vivisection theme).
We could also be looking at a Darwinian concept here: the manimals onscreen came from animals, just as we derived from apes. But the oily Dr. Moreau, hairless except for his pate and his fussy mustache and beard, seems neither human nor animal. He’s like some gelatinous god or demiurge, a Judge Holden at play in the fields of the Lord, dressed all in white like Colonel Sanders or the bride of Frankenstein. Laughton keeps Moreau polite and cool-headed in most cases, until he must discipline his ranks, at which point he barks or hisses or growls. The performance isn’t over the top, though; Laughton sprinkles these weird touches around like biscuits for dogs to find.
As in the same year’s Freaks, we couldn’t care less about the “normal” couple (Leila Hyams plays essentially the same level-headed woman in both films). Our sympathies are with most of Moreau’s creations, like the yowling Sayer of the Law (Bela Lugosi), or the frighteningly lustful Ouran (wrestler Hans Steinke), or the abused M’Ling (Tetsu Komai). Make-up legend Wally Westmore turns the Beast-Men into shaggy, melancholy nowhere men, neither-nors like their father-god, not remotely cute or clever but tormented demons from the nightside of nature. Ouran is pretty scary when he tries to get into Leila Hyams’ room after dark, but is he scarier than a man of science who essentially pimps out his “daughter” to see what her offspring will come out looking like?
Island of Lost Souls was described by Michael J. Weldon, that arbiter of all things cult and psychotronic, as “probably the best horror movie ever made.” There’s something legitimately sick and cold about it, a chill sweat of jungle malaria. Moreau hypocritically lays down a series of laws for his Beast-Men (“Not to eat meat…not to spill blood”) but ignores all manners of moral and medical law, including, eventually, his own — which leads to his downfall, vivisection at the hands/paws of his children in his dreaded House of Pain. Thus do creators of life die in this new world of gods and monsters.