Claudio Carvalho The castaway Edward Parker (Richard Arlen) is rescued by a cargo ship that is transporting Mr. Montgomery (Arthur Hohl) and animals to the notorious scientist Dr. Moreau (Charles Laughton), who lives in an isolated tiny island in the South Seas. Edwad sends a message to his fiancée Ruth Thomas (Leila Hyams) informing that he is safe and sound and will meet her at Apia. However he has an argument with Captain Davies (Stanley Fields) that tosses him overboard on Dr. Moreau's vessel. The scientist welcomes Edward in his island and offers to transport him on the next day to Apia. Edward sees strange natives and is introduced to the beautiful native Latta (Kathleen Burke). They hear screams from a room called the house of pain by Lotta where Edward sees Dr. Moreau and Montgomery operating a person without anesthetic. But later Montgomery gives a justification to Edward that does not know that Dr. Moreau is performing experiences with animals turning them into people. Further, Dr. Moreau decides to keep Edward in the island since Lolla, who is indeed a panther, is developing human emotions. What will happen to Edward?"Island of Lost Souls" is the original version of H. G. Wells' novel "The Island of Dr. Moreau" to the cinema. The polemic story of an obsessed scientist that decides to play God raised many problems to the producers in UK with the censorship because of the vivisection scenes. My vote is seven.Title (Brazil): "A Ilha das Almas Selvagens" ("The Island of the Wild Souls")

Nigel P After Universal scored such hits with 'Dracula' and 'Frankenstein' in 1931, it was clear that horrifying audiences was big business. Amongst the steady stream of cinematic terrors that followed, a year later Paramount brought us swathes of monstrosities courtesy of HG Wells and his insane Doctor Moreau.The make-up for the 'lost souls' is very impressive on the more subtle mutations, but less so on the more 'advanced' experiments. Which brings us to the most vocal, The Sayer of the Law, played by Bela 'Dracula' Lugosi (as he is billed, just above 'The Panther Woman'). Covered in fur, this is the actor that, a year earlier, had supposedly turned down the Frankenstein Monster for fear the make-up would obscure his matinée looks (which is given as one of a number of reasons he didn't end up playing the role despite being touted for it). The Sayer of the Law would seem to debunk that particular theory.Lota, the Panther Woman herself, is played very appealingly by Kathleen Burke in an outfit that exposes a lot of flesh for the time. Her growing relationship with Richard Arlen as Parker – a hero not quite as overshadowed by the other characters as is usual in horror films from this era – is interesting, but causes problems when his girl Ruth (Leila Hyams) travels all the way to the remote island to look for him.Finally, what an actor Charles Laughton was. Whilst time has rendered the performances of some of the actors around him dated and theatrical, Laughton's Moreau is every bit as convincing and villainous in 2017 as he was 85 years ago. Superbly spoken but dripping with malice, or uncontrolled and snarling like one of his own animalistic experiments, he is compelling at all times. Moreau's ultimate fate is one of the most unpleasant you could imagine, but horribly satisfying too.This is a mighty slice of grim and effective cinema. We could smile at some of the quaint make-up effects of course, but Director Erle C Kenton is at his creative peak here. He would go on to direct future Universal horrors, but never does he imbue them with the sense of unease and danger as is on show here. Strange, leering faces loom of out the jungle, misshapen shapes move in the shadows, revealing deformed limbs – or in one case, a solitary hoof – although we are fairly sure that their animalistic fury is directed only at those responsible for their current predicaments.After all, 'are we not men?'

Richie-67-485852 This is worth watching for many reasons. First, who doesn't like anything the author H.G. Wells does? After that, I find Charles Laughton fascinating and finally watching a movie from the thirties is interesting of itself. The story given is that a scientist who was not appreciated in the city and supported by the medical profession refuses to give-in or give-up and moves his experiments to an island where he won't bothered. There, he can work things out and when done, go back to civilization with the results. Sounds like a plan to me and that is what we watch develop and unfold but with a few twists here and there. It is also interesting to behold the different animals and try to guess their original form. I have watched the different versions of this story over the years some better than others as it has been remade at least twice with such stars as Burt Lancaster, Michael York and Marlon Brando no less. I usually recommend a meal, sandwich, snack or goody with a tasty drink while watching movies. It just makes it more enjoyable as movie fans can attest. However, I had trouble eating with this film and I wont explain why. Perhaps you can have your snack and then have a different experience? Enjoy this classic for its time

Woodyanders Sailor Edward Parker (a solid and likable performance by Richard Arlen) finds himself stranded on a remote island in the tropics. He discovers that ruthless and unscrupulous mad scientist Dr. Moreau (splendidly played with suavely slimy menace by Charles Laughton) has been conducting horrible and unethical experiments that transform animals into pitiful subhuman beasts.Director Erle C. Kenton keeps the twisted and absorbing story moving along at a brisk pace, does an expert job of crafting a spooky and unsettling atmosphere, and stages the thrilling climax with gusto. The fine acting by the excellent cast holds this picture together: Bela Lugosi excels in his small, yet memorable role as the Sayer of the Law, Kathleen Burke projects both a sweet naivete and smoldering animal sensuality as alluring panther woman Lota, Arthur Hohl lends sterling support as Moreau's disgraced, yet conscience-stricken assistant Montgomery, Tetsu Komai elicits sympathy as timid and loyal servant M'ling, and Hans Steinke cuts an imposing and frightening figure as the hulking Ouran. The gutsy script by Philip Wylie and Waldemar Young tackles such bold themes as bestiality, vivisection, miscegenation (Moreau encourages Lota to seduce Parker), and the intrinsic evil and cruelty of man playing at being God head on. Moreover, the marked emphasis on pain (the anguished shrieks and screams made by the beastmen are positively bloodcurdling), torture, and sadism give this film an extra unnerving edge, with the haughty and merciless Moreau in particular rating as a truly fearsome piece of nasty work. Kudos are also in order for Wally Westmore's imaginatively grotesque make-up and the sumptuous black and white cinematography by Karl Struss. Highly recommended.