"Island of Lost Souls" is a wheezy antique, but so well done I couldn't turn it off (or since I DVD'd it, pause it). Don't know how I missed it since it's been around for ages, but it held my interest from start to finish. It is an example of old Hollywood's reversal of the clichéd 'form over substance', as now movies are overpowered by special effects and digital styling. This one is a fascinating story brought to the screen by professionalism in all phases of production as it existed in the 1930's.It is a riveting performance by Charles Laughton that gives the picture currency, and he is ably supported by a youthful-looking Richard Arlen and by Kathleen Burke as Lota the Panther woman, "My best creation", according to Laughton. Long story short, it is an interesting and absorbing screen adaptation of a novel as has ever been produced by Hollywood - before or since.

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")

You can't go wrong with Charles Laughton playing the heavy. Here is is cast as Dr. Moreau, the evil vivisectionist from the famous H. G. Wells novel. He has created an island filled with animal-men who walk on two legs but maintain the features of their various animal counterparts. A man finds himself washed ashore on this island and he becomes privy to Laughton's experiments. He is helpless to do anything. He involves himself with one of Laughton's "people" for a while. This is mostly about the sickness of the island itself and Moreau's obsessions. One thing he doesn't count on is that wild animals have a sense of self preservation and potential violence. I love that cry in the jungle: "What is the Law? Are we not men?" An excellent retelling of a terrific story.

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.