THE ISLAND OF LOST SOULS (1932)

1932’s The Island of Lost Souls is the first of three cinematic adaptations of H.G. Wells “The Island of Dr.Moreau.” It is easily the best, although the 1997 attempt with Marlon Brando was not the disaster some critics claimed, and in fact was considerably better than the static, unimaginative 1977 version with Burt Lancaster.

The 1932 Island, directed by Erle C. Kenton, is rightly considered a classic, enough so that it received the Criterion treatment for a 2011 release. This is Kenton’s sole classic.  Although he was a prolific director, he was essentially a journeyman, taking whatever was handed to him and usually injecting little style. His other horror films for Universal were The Ghost Of Frankenstein(1942), The House Of Frankenstein (1944), and The House Of Dracula (1945), and they are all second rate, at best.

Island of Lost Souls deviates from the original story (which, predictably, prompted H.G. Wells to voice his disapproval), but the film is simply told. Like 1932’s Dr. Jekyll and Mr. Hyde, Island is a pre-Hayes code film, and it shows. Of course, both films were taken from  literary sources, and that too is apparent.  Lost Souls‘ literacy is due to screenwriter Philip Wylie, who also adapted Wells for James Whale’s The Invisible Man (1933). The inimitable Charles Laughton, one of the great classic screen actors, plays Dr. Moreua with a classicist’s relish. Laughton is one of the major reasons for this film’s success, and as director Kenton shows atypical subtlety. These factors, combined with well-crafted sets and make-up, add up to a striking milieu.

Island is almost an old-dark-house genre film, except that the stranded visitor, Edward Parker (Richard Arlen) ends up in a sort of kinky, contemporary Eden.  God is present in the symbolic persona of Dr. Moreau and although he is the antagonist, he is a three-dimensional one. He is intelligent, crafty, and that naughty twinkle in the divine eye is ever present.  God is creating again, although this time he’s attempting to correct his previous mistake by making man from the image of Eden’s animals.  Eve (a Wylie addition) appears in the exotic Lota (Kathleen Burke, who notably showed up in the following year’s pre-Code Murders in the Zoo).  Lota, AKA Panther Girl, alternately projects innocence and unbridled sexuality, and she is utilized by Moreau to usher forth a new Adamic age, with Parker as the new Adam. Of course, in every Eden there’s a rotten apple or two, and here it’s Parker’s abroad girlfriend (Leila Hyams, from Freaks) and the Beast Men, Moreau’s ungrateful children who hold a grudge against their creator for little things like torture, brutality, and vivisection. The Beast Men are led by the Sayer of the Law ( Bela Lugosi, who is well-directed). The Sayer calls the creator out for hypocrisy and original sin.  The Beast Men are well sketched here, which is a sharp contrast to the mere animalistic portraits drawn in subsequent versions. The finale is natural jolt, so much so that no other celluloid interpretation of the tale can match it. This lucidly told imaginative spin on Dr. Frankenstein’s Eden still holds up remarkably well.

As for the Criterion treatment, most welcome authoritative commentary is given by historians Gregory Mank and David J. Skall, along with filmmaker Richard Stanley (the original director of the 1997 version, who was replaced by John Frankenheimer).  Stanley offers entertaining, honest insight.  A little less welcome are reflections by John Landis and Devo.  Production stills and the theatrical trailer are excellent supplements.  This is a superb release that is essential for classic film lovers.

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RIDE IN THE WHIRLWIND (1966) BLU-RAY CRITERION

RIDE IN THE WHIRLWIND (1966) posterRIDE IN THE WHIRLWIND (1966) German movie poster

Monte Hellman’s‘s two 1966 Westerns, The Shooting and Ride In The Whirlwind, have finally received due recognition in a Criterion edition. For years, Hellman’s “existentialist” Westerns (as they are often termed) have languished in execrable transfers on Z-grade DVD labels. Even these have usually been out of print, and only available at mortgage payment-level prices.

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Both were produced by Roger Corman(uncredited), Jack Nicholson, and Hellman, with Hellman directing both simultaneously. The Shooting was written by Carole Eastman, Ride In The Whirlwind by Nicholson. The writing proves to make the difference; Nicholson lacks Eastman’s sense of pacing and aptitude for coherent nonsense. Still, each film is sharply focused and securely grounded amongfilms for the bourgeoisie to walk out on (a quick glance at the deluge of prosaic comments from banal IMDB users serves as a verification of Hellman’s provocative reputation).

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Ride In The Whirlwind opens as a traditional Western, with a stagecoach robbery. Tradition soon gets thrown out with yesterday’s bathwater. The robbery goes askew, as do concepts of righteousness, virtue, honor, and frontier justice. The ensuing shootout between rival gangs lays waste to our inherent ideologies of heroes and villains.

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MONSIEUR VERDOUX (1947) CRITERION COLLECTION

2013 sees the Criterion Collection release ‘s Monsieur Verodux (1947). With this film, Chaplin’s sentimental Tramp was unquestionably dead, and in its place was an elegant black satire about a mass murderer. Critics and the public alike vilified Chaplin for this shift, to the point of picketing theaters, booing him at the Broadway Theater premiere, and eventual forcing the film’s withdrawal from the American market. James Agee, , and Bosley Crowther were among scant few notables who went against the tide and sang the film’s praises, declaring it a masterpiece. Later revivals have seen contemporary critics belatedly joining the film’s original champions. Today, Dennis Schwartz writes, “Monsieur Verdoux remains an unusually provocative satirical black comedy that’s subversive and gives one a greater sense of Chaplin’s political breadth from his previous work.” This reappraisal is not surprising: Verdoux‘s dark, sardonic humor is attuned to the modern mindset.

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While Monsieur Verdoux does not compare to Chaplin’s most assured silent work, it is his most successful sound film (although that may not be saying much). The idea of Chaplin playing a Bluebeard type came from . Predictably, Welles suggested himself as director and, even more predictably, nothing came of it. Chaplin decided to pursue the idea solo, embarking on a screenplay. He offered Welles a “story idea” credit, and much to Chaplin’s chagrin, Welles accepted.

Charlie Chaplin Monsieur Verdoux POSTER

In retrospect, Monsieur Verdoux might be seen as an antidote to Chaplin’s next feature, the excessively saccharine Limelight (1952). The initial critical and commercial failure of Verdouxwas comparable to the situation with ‘s bleak Three’s A Crowd (1927), after which Langdon reportedly tried to rebound with the populist-minded Heart Trouble (1928) (since that film was not distributed and is now lost, it is impossible to assess whether or not Langdon’s effort for a comeback would have been successful). Chaplin attempted to rebound from the commercial failure Verdoux with Limelight. Although Limelight proved to be a commercial success, critical reception was mixed. In her infamous review the critic Pauline Kael referred to it as “Slimelight” and, according to a Chaplin biographer, Pablo Picasso walked out on the film, finding it to be nauseatingly sentimental. The two films which followed Limelight were critical and commercial failures. To its credit,Verdoux does not overdose from Chaplin’s heart-on-sleeve sentiment.

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