Island of Dr. Moreau (1977)

Dangerous Adventures Make the 1977 Island of Dr. Moreau

by Kristin Battestella

AIP's 1977 adaptation of H.G. Wells' The Island of Dr. Moreau directed by Don Taylor (Escape from the Planet of the Apes) pairs down the half man half animal mad science to its core themes with claustrophobic symbolism and strong performances anchoring the beastly adventures as shipwrecked Andrew Braddock (Michael York) is taken in by the isolated scientist Dr. Paul Moreau (Burt Lancaster). Also on the beautiful but dangerous island are Moreau's enchanting adopted daughter Maria (Barbara Carrera) and his crusty assistant Montgomery (Nigel Davenport). Braddock, however, discovers there are more monstrous inhabitants – victims of Dr. Moreau's twisted experiments – leading to a struggle of wills, abominations, and control.

The silent vast and empty blue ocean open The Island of Dr. Moreau with a tiny boat and one small, desperate survivor bearded and thirsty. Epic music mirrors the hope of this green, lush island oasis, but hanging vines, uneven terrain, and booby traps belie this paradise said to be one thousand miles from nowhere. Fenced in buildings with food, bedding, mosquito netting, books, and fresh clothing appear civilized, however dangerous animals are said to roam the island and one should never leave the compound after dark. Idyllic pets and pleasant races in the woods lead to strange sounds in the night and “muffled roaring.” Viewers think we see something amid the rustling leaves but we don't know what. Hunched creatures, creepy servants drinking from puddles like animals, and more “special” types of people on this island are in need of Dr. Moreau's care – and his laboratory is complete with a menagerie of wild cats, cages, and shackles. Rearing horses, chases, fear of the unknown, and unanswered questions are difficult for men who like to know and control all when exploring the natural or unnatural boundaries they should not. The once lovely island locales become increasingly congested environs as the external out of control science closes in on the body sacred thanks to serums, syringes, and surgery. Why would a doctor create such suffering animals now made partially people? Are the hairy inbetweens and experimentation in the name of science worth the loss of one's morality? The civilized man must defend himself in caves where unwelcome, monstrous, man made creatures have their own laws – not to walk on all fours, not to eat flesh, no taking of life. Gunshots scare away fierce offenders, for these animals given speech and rules remain controlled through fear. Will these hybrids remember what humans told them to say and do if they regress to their innate ways? After all, to study nature, one has to be as remorseless as nature, which has its own sense of justice, selection, and violence to match our undeniable ability to destroy. Dangerous tiger attacks, mercy killings, and angry mobs with torches lead to blood and pain in well paced action as power devolves into anarchy. Although The Island of Dr. Moreau's symbolism is apparent, the sentiment doesn't hit the audience over the head thanks to a multi-layered cycle of man made monsters and men made gods.

Dr. Paul Moreau showed signs of brilliance in his youth and loves to converse about emerging technology, but Burt Lancaster's (From Here to Eternity) extensive academic has been here in his own paradise for eleven years. His colleagues opposed his work, criticizing his theories on the nature of good and evil, to which even Moreau agrees he doesn't have all the answers. Fortunately, he admires Braddock's intelligence, explaining to him the need to help his fellow human beings by controlling all stages of life whilst also keeping him at the compound and withholding the details of his trial and error experiments to save mankind. Moreau thinks what he is doing is just – making his work all the more frightening when the results aren't as he hoped. The doctor gets angry with his whip when his creations remain animalistic. He speaks to his subjects about the law from his rocky pulpit, lording over those punished in his house of pain with his white suit and halo like hat almost as if Elmer Gantry turned to dastardly mad science. Moreau thinks he can tell an animal he is human and it will understand. He wants his flock to obey Braddock – Moreau needs a successor to continue his delivery of science from cruel butchery and dissection. However, Braddock is a man who doesn't do what he's told, and Moreau is determined to use his tough love science to prove Braddock's true nature. Unfortunately, Moreau is threatened by his own cause, unaware his do as I say not as I do superiority does not give him reign over his creations. Formerly of The Lady Vain, the situation goes from bad to worse for Michael York's (The Three Musketeers) rugged seaman Braddock. He's curious about the island, reads, questions where everyone came from and if there are nearby places. He walks the coast and repairs his damaged boat – the audience is on his side as the handsome hero uncovers the askew science. Alas, Braddock is too inquisitive for his own good, in over his head and meddling where he shouldn't. He must learn to abide by this island's rules or he will be punished for his interference. Braddock becomes desperate to remember who he is and where he comes from in all this upside down, and The Island of Dr. Moreau is a fine two-hander between its leading men – father and son figures where the elder won't get his way thanks to the new, stronger man. Though often sweaty and shirtless when proving his macho, Braddock becomes embarrassed by his animal instincts. Ultimately, he buttons ups his clothes when these dire circumstances force him to show he can behave like a civilized man. Barbara Carrera's (Never Say Never Again) stunning image of beauty Maria, however, answers only to Dr. Moreau's commands. He raised her, and initially she keeps her distance despite Braddock's romantic interest. Although the tender, sensuous explorations are well done, viewers know we shouldn't trust the frolicking strolls along the beach as she gives in to her passion. Carrera doesn't really have a lot to do, but Maria's an innocent young woman, a blank slate being shaped by her in the wrong father figure and a lover who would take her away from the island when she's afraid to go. Nigel Davenport (A Man for All Seasons) as Dr. Moreau's gruff assistant Montgomery also has less to do than in the novel, but his cryptic attitude adds to the sinister isle orchestrations. He tells Braddock to get over the shock of it all, for he sleeps better on this island than anywhere else. Ironically, this man who chooses to be subservient because he lacks humanity becomes a problem once he does show sympathy.

Safari hats, white linen suits, and lacy women's frocks match The Island of Dr. Moreau's turn of the century talk of fantastic flying machines and underwater vessels. Candlelight, lanterns, gramophones, longhand journals, leather volumes, and pistols add vintage to the emerging gear, telescopes, globes, and specimens in jars. Laboratory equipment, medical beds, and giant needles create disturbing science alongside creepy teeth, gross smiles, and distorted faces making the audience recoil. Granted, some of the animal make up is weak compared to contemporary designs – the noses, wild hair, and horns could be laughable but they are not thanks to the serious abomination implications. One red scarf becomes a symbolic bright spot in the otherwise earthy palette while foreboding shadows around the buildings instill fear thanks to the natural and unnatural sounds beyond the halos of seemingly civilized light at the compound. Pans over the mountains capture the divine Caribbean locales, but the point of view more often looks out the windows or in past the verandas as if the cameras themselves won't leave this little oasis. Overhead spins parallel the disorienting jungle alongside well done chases and unseen monstrosities amid dangerous but beautiful bears and big cats in cages. Animal claws and growling effects set off disturbing mobs and vicious attacks before a fiery finale with blood on all hands accenting both the messianic savior visuals and Judas retribution hangings. While the classic horrifics and big performances make Charles Laughton's 1932 adaptation Island of Lost Souls, the 1996 Marlon Brando and Val Kilmer version is a little too messy despite being more faithful to the novel than the excised bookends here. With its horses, weapons, upside down tone, ravishing brunette, intelligent spark, revealing pace, and primitive design; this Island of Dr. Moreau at times feels more like the original Planet of the Apes. Perhaps we are do for another fully realized Wells interpretation, however I fear that today's over reliance on CGI talking animals, motion capture special effects, and spectacle transformations would miss the point of the piece.

Even if such shock value isn't as important as the scientific harbingers, the bitter parable with man meets beast violence here can still be uncomfortable for some audiences. This well known story of half animal, half human would also seem to get old eventually – audiences aren't meant to be surprised anymore by the monstrous warnings of combining man and beast for one's own gain. Nonetheless, The Island of Dr. Moreau remains a relevant conversation starter in today's era of cloning, stem cells, and healthcare debates, and this well done adventure with fine performances is worth a fresh look.

From Here to Eternity

From Here to Eternity as Awesome as Awesome Gets, Period.

By Kristin Battestella

Everyone has seen that snip of the waves crashing over Deborah Kerr and Burt Lancaster in their steamy beach bound lip lock from this 1953 Hawaiian military epic. The shot’s famous, the film’s a bonafide classic, and yet there is so much more to From Here to Eternity.

After injuring a friend in the ring, bugler Private Robert E. Lee Prewitt (Montgomery Clift) won’t box for his new CO, Captain Holmes (Philip Ober) in the upcoming tournament.  Sergeant Warden (Lancaster) tries to get the stubborn Prewitt to see reason and even puts him on extra detail rather than see Prewitt punished by Holmes.  Unfortunately, Warden has his own hang ups- namely that affair with Holmes’ wife Karen (Kerr) - who pressures Warden to seek a commission.  Prewitt and his friend Maggio (Frank Sinatra) try to take the army life easy by visiting the New Congress Club for drinks and girls, and Prewitt makes plans with Lorene (Donna Reed).  Maggio, however, runs into trouble with the stockade sergeant, Fatso Judson (Ernest Borgnine). Jealously, vengeance, pride, and romance eventually collide as the Japanese attack on Pearl Harbor commences.

I feel like I’m going to ramble.  What can I say about From Here to Eternity that hasn’t already been said?  Then again, this isn’t nearly enough analysisizing over Best Director winner Fred Zinnermann’s (High Noon, A Man for All Seasons) adaptation of  James Jones’ then scandalous novel and Daniel Taradash’s (Don’t Bother to Knock) Best Adapted Screenplay, either.  Multiple viewings are indeed necessary to fully appreciate and properly study all the great dialogue, complex characters, Oscar winning cinematography, and star-studded performances. Maybe the melodrama will seem tame to some today, but From Here to Eternity still offers plenty of Pearl Harbor heavy.  I simply love this movie and have to tune in whenever it is on television. A viewer thinks he knows it line by line and can just leave it on the tele in the background. But no, the torment, romance, toughness, and intensity call you to the screen.  Is it over the top by today’s standards? Perhaps- but the fifties flair and form works for the archetype characters. For better or worse, these are these characters’ shining moments. From Here to Eternity’s journey is in seeing which player will burn out, fade away, win, or survive- and we’re not even talking about World War II yet!  Strategically placed couples and intimate photography match the suggestive relationships while balancing nicely with wider shots and the foreboding historical background. The focus here is on the little people and the Oscar winning editing mirrors the personal taboos of the time perfectly.  The camera sweeps down with Lancaster as he kneels to kiss Kerr and brings a long focus as Clift takes slow drags on a smoldering cigarette after going to the upstairs parlor with Lorene.  Audiences know what’s happening, and I actually find it pleasing that we can take the hint. Today’s films would be dominated by the raunchy base lifestyle and TnA brothel action. There’s an element of class amid the scandal here.  Life sucks, America’s not the best of the best can’t always deal- and yet From Here to Eternity shows it all in style.

If From Here to Eternity has a fault, it is that both its Best Actor nominees cancelled each other out in favor of William Holden in Stalag 17.  Holden is good, very good; perhaps it is indeed his best. Sixty years later, however, our boys look decidedly robbed. Future Oscar winner Burt Lancaster (Elmer Gantry) is just wonderful as the stiff all business sergeant who keeps the men in line while his jerky captain seeks glory. Lancaster looks good as Warden- acrobat fit, natural in uniform, and shirtless for his fans. He looks tough and cold hearted yet has a soft spot for his company- not to mention a brimming passion for his CO’s wife. Warden knows how to handle the hard, worn, and broken of the army, and we like him for it.  Somehow, we like him even more when he loosens up his prison alluding name and button up attitude to go after the wrong woman. He’s the last man we’d expect to get caught up with another man’s wife- the seemingly used and denied pencil pusher who cleans up his captain’s messes because he wants the company to remain a well oiled machine. Yet Warden’s a hunk of sergeant so overdue some leeway loving and getting drunk- which Lancaster and Clift really did, by the way!  What’s proper? What’s respectable? Since we know Pearl Harbor looms, these people don’t have time to worry about morality, do they? From Here to Eternity gives us wonderfully flawed and multi dimensional characters.

Rather than an acting rivalry, Warden and Private Prewitt have an unusual rapport, even a friendship as far as enlisted men and NCOs can have. In this, Montgomery Clift (Red River, A Place in the Sun) is equally awesome to Lancaster and just as beautiful.  Clift embodies Prewitt like no one’s business- complete with a slender uniform and a chip on his shoulder.  Any man who wants to know how to act should watch Clift here. Prew is a military man through and through- he just refuses to simply do and die and not reason why. He loves his bugle but won’t to back down to pressure to join the boxing team- even if it means continued hazing and difficulty on the base.  Principles onscreen and off are such a lost art! Clift exudes the straight back uniform style, the contrasting slouched and ruined hunch of an AWOL tropical shirt, and all the range of emotion and torment in between.  So what if the boxing scenes are hokey.  The idea of not wanting to box after blinding a friend may seem cliché to contemporary audiences, but Clift sells the pain perfectly, as if it is an integral part of who Prewitt is. The punishments he receives may just seem merely asinine, yes- today’s films would frontload this kind of plot point with unwatchable brutality before despicable character focus. Nonetheless, Clift plays the anger as fundamental, with no separation between himself and Prewitt.  Sure, he had his off screen troubles, but the viewer never thinks Clift is angry or playing himself, no.  Prewitt’s turmoil is simply so seamless- the music, the boxing, the love and loss. This is a completely three dimensional character thanks to Clift.

Perhaps I gloat over Clift, but I’ve said it before, and I’ll say it again: I don’t like Deborah Kerr.  Fortunately, The Innocents, The King and I, and From Here to Eternity create a trio of her best.  Kerr doesn’t look the expected English pretty in tight sweaters and short shorts, and all those wet dialogue references up the innuendo.  Karen has been around the block- and a base or two- for all the wrong reasons, and yet we don’t blame her.  She’s a fast woman carrying plenty of pent up issues, but she struts her stuff and knows how to shake those hips. We see her coming and yet the audience can sympathize with this wasted and wronged captain’s wife. This affair can’t end well- the would be scandal, Pearl Harbor is imminent, Warden doesn’t want to be an officer and Karen won’t marry an enlisted man.  It isn’t good and yet these people need some happiness, dreams, and all the misery that comes along with love. Although she went home with the Best Supporting Actress Oscar, I’m still not so sure Donna Reed was the right choice for the prostitute Lorene.  She’s great and has the acting chops to turn our It’s a Wonderful Life and Donna Reed Show expectations, yes. However, you can’t quite forget this “It’s Donna Reed! As a prostitute!” feeling. Fortunately, Reed does match Clift’s charm, and together they develop a tender but broken kind of chemistry and bitterness.  Do they love each other? Without a doubt. Will the military action behind the scenes and on the battle lines eat them alive? Definitely. 

 

Surprising, the one who exceeds expectations in From Here to Eternity is revitalized crooner Frank Sinatra (The Manchurian Candidate and my personal favorite Robin and the 7 Hoods) as the loyal friend who cracks under the ruthlessness of the late Ernest Borgnine’s Fatso. The ill-fated best friend is the very definition of a supporting character, and Maggio is simply classic for that final scene alone.  He lifts, inspires, and sets Prewitt’s actions into motion for the final third of the film. Today’s speculation about Mafia involvement in his casting and debate about his Oscar win unfortunately seem to overshadow his actual performance, but Sinatra is worth another look here. Perhaps also a stereotypically styled villain, Borgnine (Marty, McHale’s Navy) is nevertheless an imposing, multi dimensional figure both in stature and in performance. He’s gritty, wicked, and we immediately hate that people like him get ahead while honest soldiers like Maggio are chewed up and spit out.  But oiy, it must have been tough for him with all that wop talk! Philip Ober (North by Northwest) is despicably love to hate worthy as Dynamite Holmes, too.

Despite winning awards for its black and white cinematography, I can’t help but wonder what From Here to Eternity would look like in full fifties color and splendor.  The onscreen forties styles and accessories, those swanky parlors, lovely palm trees, and handsome starch uniforms in all their glory! Not that I condone colorization by any means, and besides, this film is not about dazzling visuals and little else like the 2001 Michael Bay stinking spectacle Pearl Harbor.  The battle finale here is sweet though; and the real military locations and authentic drilling, equipment, and protocols give us the wartime vibe needed.  Bittersweet bugle tributes, fun piano music, period swing and aloha sounds also do wonders- along with “Re-enlistment Blues.”  Even the cigarettes in From Here to Eternity shine. The way our players hold them and their shot glasses or brush their hair- most young stars and ‘celebrities’ today simply cannot ‘act’ like this.  They can’t embody the tense mood, atmosphere, pressure, and grace tying From Here to Eternity in a pretty bow.

Simply put (a thousand words too late!) this film is a must see. Maybe you don’t like Best Picture hardware laden classics or any of the cast. Perhaps you don’t like wartime films or have no interested in seeing a film of acting, direction, and cinematic perfection.  Too bad. You can’t be a fan of dramatic cinema and movies themselves without having seen From Here to Eternity. So why wait?

Essential Easter Viewing

Essential Easter Viewing (And a touch of Passover, too!)

By Kristin Battestella

I’m later than I’d like in this informative list of films, TV shows, and documentaries for the Easter Holidays, but I thought what the heck, it’s never too late for some quality, wholesome, inspiration, family viewing-am I right? Naturally, I hope to write in more detail on some of these greats.

Here’s some Passion centric viewing for Christians and even non-believers.

Ben-Hur - Who can forget Charlton Heston’s Judah as he rows his way from a path of revenge towards redemption with Christ? The chariots, the lepers-even if you don’t like some of the over-the-top styles of fifties films, you must see this film once in your lifetime.

The Passion of The Christ- Mel Gibson’s controversial Passion Play tour de force is not for the squeamish or folks under 15, and its not the best film to introduce newcomers to Christ’s ministry. Nevertheless, this bloody film can inspire the faithful by lavishly detailing the brutality of the Crucifixion.

Jesus: The Complete Story- This Discovery channel series devotes almost three hours to exploring Jesus. From his birth to his ascension, it’s refreshing to see a program tackle as many of Jesus’ aspects from as many angles as possible. Narrated by Avery Books, young and old can be inspired here. In the Footsteps of Jesus is another fine series that also can’t be found on television anymore.

The Robe- Yes, Richard Burton tends to over act just a tad, but this lovely story about the centurion who crucified Christ and takes his cloak leads us on a haunting road to salvation. Though tame to most, the execution montage may be upsetting to kids. It’s beautiful, yet tragic imagery makes this one staple holiday viewing. Victor Mature also stars in the sub par, but still wholesome Demetrius and the Gladiators.

Elmer Gantry- Burt Lancaster gives an Oscar winning performance here as the titular con man who starts out as a fake and pays the ultimate price before learning the error of his ways. Not necessarily an Easter film, Elmer Gantry nonetheless shows us how sin and salvation are never apart in our lives-in fact; they are closer than we think.

King of Kings/ The Greatest Story Ever Told- I don’t mean it in a mean way, but if you must have the television on while the family’s about for the holidays, these two lengthy epics are the perfect way to keep the true meaning of Easter about the house.

I haven’t forgotten about our Friends celebrating Passover, but there’s really only one big one:

The Ten Commandments- You can’t go wrong with this 1956 classic anytime of year. Teen audiences may prefer the 2006 miniseries of the same name, and for the kids there’s the charming Prince of Egypt; but there’s nothing like a Cecil B. DeMille epic to get you into the spirit of things. This is one of my favorite movies ever. Growing up, I used to watch it daily-I kid you not. I learned how to make sheets into togas and pin towels to my head, but strangely, I always preferred Yul Brynner’s ruthless Rameses to Charlton Heston’s booming Moses. The music, the exceptional cast, the dialogue-there’s so many iconic and dare I say divine moments here for any person of faith, young or old.