H.G. Wells’ “Island of Dr. Moreau” 1977

"The Island of Dr. Moreau" is a science fiction novel by H.G. Wells, first published in 1896. The story is told from the perspective of Edward Prendick, a shipwreck survivor who is rescued and brought to a remote island. There, he meets Dr. Moreau, a brilliant and controversial scientist who has been exiled from the mainland due to his ethically questionable experiments. Dr. Moreau's work on the island involves a combination of vivisection and eugenics, as he attempts to transform animals into human-like beings through a process he calls the Painful Way. These part animal and part human creatures are known as Beast Folk. They live on the island under a set of laws created by Moreau to curb their animalistic instincts and make them more human. However, the stability of this society is fragile, and Prendick witnesses the inherent cruelty and moral ambiguity of Moreau's experiments. The novel explores themes scientific ethics, the nature of humanity, animal instinct, and delves into philosophical questions about the boundaries between humans and animals and the consequences of playing god. This was the first H.G. Wells novel I ever read, and it certainly made an impression!

The third known film adaptation of Wells’ novel was the 1932 film The Island of Lost Souls. Directed by Erle C. Kenton and produced by Paramount Pictures, "The Island of Lost Souls" was a daringly dark and violent project for its time. The story's adaptation required a delicate balance to comply with oncoming film censorship codes, yet the filmmakers skillfully navigated these constraints, delivering a provocative movie. Charles Laughton delivered a memorable performance as Dr. Moreau. Bela Lugosi, famed for his role as Dracula, took on the part of the Sayer of the Law. Richard Arlen played Edward Parker (dropping the awkward name Prendick) the shipwrecked traveler who uncovers the horrors of Moreau's island. Kathleen Burke played Lota, The Panther Woman, a character not in the novel but present in some form in every filmed version.

While "The Island of Lost Souls" adheres to the narrative skeleton of Wells' novel, the film introduces several alterations, primarily for cinematic effect and to suit the moral standards of its time. Besides the introduction of Ruth Thomas as the fiancée of Edward Parker the depiction of Moreau's experiments and the Beast Folk also underwent modifications. The film's portrayal of the creatures is more fanciful and less horrifying than in the novel, and the character of Moreau in the film is portrayed with a more overtly sinister and sadistic edge, emphasizing the horror elements over the misguided philosophical underpinnings of his experiments. Island of Lost Souls is an entertaining, pulpy action movie of its time, with gorgeous black & white, silver nitrate photography, classic monster-make-up designs, and deliciously over the top performances from Laughton and Legosi. But it is not “The Island of Dr. Moreau”, and HG Wells agreed with me. It would be 45 years until another serious attempt was made to adapt the novel.

American International Pictures (AIP) carved out a unique niche in Hollywood history, establishing itself as a powerhouse of genre cinema that appealed to the youth market of the 1950s, 60s, and 70s. Founded in 1954 by James H. Nicholson and Samuel Z. Arkoff, AIP became synonymous with innovative low-budget films, targeting teenagers with a blend of horror, science fiction, and beach party musicals. Nicholson and Arkoff's strategy revolved around the ARKOFF formula, which stood for:

• Action (exciting, entertaining drama)

• Revolution (novel or controversial themes and ideas)

• Killing (a modicum of violence)

• Oratory (notable dialogue and speeches)

• Fantasy (acted-out fantasies common to the audience)

• Fornication (sex appeal)

This formula proved to be remarkably effective, allowing AIP to quickly gain a foothold in an industry that was, at the time, dominated by major studios with significantly larger budgets.

The 1977 version of "The Island of Dr. Moreau" was faced with the task of updating Wells' epic story to resonate with contemporary audiences. Set in 1911, against the backdrop of a mysterious island, the film employed practical effects, makeup, and set design to create its presciently plausible world, evoking a visceral sense of unease and morbid curiosity, pivotal to the story’s weirdly compelling narrative. The films' producers originally planned to shoot the film in either the Canary Islands or Malta, but decided on the United States Virgin Islands. Filming began on Saint Croix on December 13, 1976, with a $7 million dollar budget. The 26 animals featured in the film were given affection training by Toni and Ralph Helfer at the Enchanted Village of Buena Park, California. The fifteen actors featured as human-animal hybrids in the film required a team of 12 makeup artists who would need four hours to apply the cosmetics required for their parts and one hour to remove them.

The Makeup Department was truly impressive. This was no “low budget production”. The prosthetic FX talent assembled for this project was truly impressive:

• John Chambers (Planet of the Apes, The Outer Limits, Lost In Space, Night Gallery, Blade Runner)

• Thomas R. Burman (Planet of the Apes, Close Encounters of the Third Kind, Invasion of the Body Snatchers, 1978)

• Edwin Butterworth (Day of the Dolphin, Young Frankenstein, The Deer Hunter, Brainstorm)

• Richard Cobos (Invasion of the Bodysnatchers 1978, Cat People, Alien Nation the television series, Batman Forever, The Cell, Transformers, Thor)

• James Lee McCoy (Star Trek II, Star Trek III, Star Trek IV, Arachnophobia, Waterworld) 

• Michael McCracken (Twilight Zone The Movie, Communion, Mulholland Falls)

Leading the cast was Burt Lancaster, who portrayed the enigmatic Dr. Moreau with a nuanced blend of charisma and menace. Opposite Lancaster, Michael York (fresh off of “Logan’s Run”) took on the role of Andrew Braddock, a shipwreck survivor who stumbles upon Moreau's isolated domain, marking a departure from the novel's protagonist, Edward Prendick. The change in name and some aspects of the character's background served to provide a fresh take on the classic tale. Barbara Carrera played Maria, inspired by the passing reference to the “puma woman” in the Wells original—it is actually puma-woman who kills Moreau. Supporting performances by Nigel Davenport (as Montgomery) and Richard Basehart (as an excellent Sayer of the Law) are both solid and good realizations of their respective characters. Michael York’s performance has been labeled “campy”, but that has more to do with the time we live in than anything else. If you are under a certain age, everything appears to be “campy”, probably due to the detached, bland, soulless “acting” that has been dominant for the past fifteen years. York has very little dialogue in this film—watch carefully, and you’ll see a wonderfully realized—and completely convincing—performance, played mostly in pantomime.

I should mention the score, composed by Laurence Rosenthal, who would go on to compose the Young Indiana Jones Chronicles for Lucasfilm. The music is excellent, a pulsing, discordant sound-scape of rumbling bass notes, warped brass, and stabbing strings.

While the 1977 film is more faithful to Wells than any other adaptation, it introduced several significant changes. The character dynamics are notably altered, with Maria's role being an invention for the film, providing a romantic subplot that was absent from the book. Although dropped from the final version, Maria’s character was meant to add a last shock to the adaptation. As the castaways sight a ship that can rescue them, Maria was to revert to her animal origins. Another version had her giving birth to a baby puma. If you look closely, you can clearly see that Carrera is wearing cat-eye contact lenses on the life raft. However, this final scare was deemed unnecessary and dropped from the movie.

At the heart of both Wells' novel and its 1977 adaptation lies a deep-seated unease about the ethical boundaries of scientific inquiry. The film amplifies this theme, presenting Dr. Moreau not just as a mad scientist but as a complex figure whose vision is clouded by hubris—a strange cross between Albert Schweitzer and Josef Mengele. This nuanced portrayal invites viewers to reflect on the nature of humanity, the responsibility of creators, and the limits of scientific exploration. Burt Lancaster delivers an excellent and exciting performance—for my money, the best of all the Moreaus.

Upon its release, "The Island of Dr. Moreau" garnered mixed reviews, with praise for its performances, especially Lancaster's, and its provocative themes, but criticism for some of its pacing and narrative choices. Over the years, however, it has gained cult status, appreciated for its ambitious attempt to tackle Wells' complex ideas and its excellent makeup FX. This would be the last official adaptation of The Island of Dr. Moreau until Richard Stanley’s ill-fated 1996 adaptation, starring Val Kilmer and Marlon Brando, and completed by veteran Hollywood director, John Frankenheimer. Richard Stanley’s original screenplay is one of the best I have ever read, and if this production had been completed properly, would have easily been the best film version.

As things stand, my personal favorite remains the 1977 production, clear and away the best version on film.