island of dr moreau

H.G. Welles’ 1896 novel The Island of Doctor Moreau was considered scandalous science-fiction at the time, with its titular mad scientist playing God by creating man-like mutations out of test animals through vivisection. The 1932 film adaptation, Island of Lost Souls pushed the envelope with not-so-subtle suggestions of bestiality and a sadistic streak that flaunted itself in the face of the newly minted production code. By comparison 1977’s The Island of Dr. Moreau feels like a TV-friendly version of the same shocking story…which is ironic since that’s probably where most fans first experienced the film.

Burt Lancaster takes over as the obsessive scientist who turns the unexpected arrival of a shipwreck survivor, Braddock (Michael York), into an opportunity to test the legitimacy of his “manimal” creations. Introducing the young interloper to his beautiful ward (Barbara Carrera) and hired gun (Nigel Davenport), Moreau quickly comes clean about his experiments and insists Braddock participate in maintaining the “laws” he’s set in place for his creations (“Not to walk on all fours, not to spill blood,” etc). But pity soon replaces fear and Braddock finds himself siding with the monsters lurking in the jungle as opposed to the one with a syringe and a PhD.

Shot on location in the Virgin Islands, The Island of Dr. Moreau often bears an uncomfortable resemblance to certain episodes of Fantasy Island. And certainly the full sunlight photography doesn’t do the make-up effects any favors. This is by far the least convincing herd of beast-men based on the H.G. Welles work…and that includes the ridiculously overwrought 1996 adaptation as well. Director Don Taylor’s heavy TV background translates to flat camerawork that only occasionally takes advantage of the wider cinema screen.

But the essence of the story remains quite strong along with Michael York’s likable performance. And the film provides an original twist, with Moreau injecting Braddock with the secret formula to watch him devolve back into an animal. The sequence where York recites his childhood memories to retain the last vestiges of his humanity is well-written and well-performed all around. In fact, the entire film fits into a family-friendly horror genre that will strike a pleasantly nostalgic nerve for kids of the ‘70s. It’s exciting enough to peak their interest (with some unbelievable animal stunts in the finale) and literate enough to spark some creativity of their own.

Kino Lorber’s Blu-ray is an unexpected gift for those who grew up catching this one as a “movie-of-the-week.” The hi-def transfer is everything one could hope for – crisp, clear and colorful – although it still looks like a TV show. Extras include a trailer and extended promotional featurette, plus a still image supposedly from the TV version in which (SPOILER) the love interest reverts back to her bestial state.

*My memory of this is fuzzy but I know for a fact the Marvel Comics’ movie-tie in ended the same way. Why the theatrical version would ditch this rather obvious surprise ending is a mystery.