L'isola stregata degli zombies

"Zombies and chomping plants greet an expedition led by a debunker of the occult." That's the description of VOODOO ISLAND given by TCM and it hits the mark. But the only real reason for watching is the presence of BORIS KARLOFF as the debunker. Others in the cast do little to help the project, but include BEVERLY TYLER as a frigid assistant to Karloff and RHODES REASON as the stalwart leader of the group. His romance with Tyler gets off to a bad start but heats up before the final reel.

The special effects are unintentionally funny, especially a scene where one of the young ladies is attacked by a carnivorous plant. Les Baxter's score is a major asset though, accenting whatever danger is indicated by the script.

But overall, the film is a distinct letdown for anyone expecting a good zombie movie. Most of the action takes place in bright sunlight amid sets that look like leftovers from Fantasy Island.

Summing up: Karloff admirers won't mind watching him here, but no one is likely to be impressed by the lame storyline.

I've seen worse programmers. Boris Karloff brings class to anything he works in. It's fun just to watch him. His ill-health hadn't yet slowed him down and he was a real presence. Elisha Cook also gives an excellent performance.

I think I know how the lesbian undertones between the two women got by (though the tones weren't that "under"). If it had been a big budget picture, the censors would have been on it like white on rice. As a low-budget picture it came in under the radar.

Several of the actors do rise above the material. Actually it reminds me of some of the TV shows being churned out about the same time. They, too, didn't have much of a budget. What adds to the TV feeling are some of the actors, such as Rhodes Reason and Mervyn Vye, who were mainstays of '50s television.

The 1957 Boris Karloff film "Voodoo Island" seems to have a widespread reputation as being one of the actor's all-time worst, so it was with a feeling of resignation and borderline cinematic masochism that I popped this DVD into the player the other night. "Voodoo Island" was Karloff's first horror picture in four years, his only release for 1957; he would rebound a bit the following year, with the releases of the fun shlockfest "Frankenstein 1970" and the even better (British) film "Grip of the Strangler." Filmed on the Hawaiian island of Kauai on the cheap, the picture turns out to be a modest little B film that, despite its many flaws, still retains a certain strange charm.

In it, Boris plays a character named Phillip Knight, who seems to be a professional debunker of popular myths. Knight, when we first encounter him, has already disproved the legends of the Loch Ness monster and a Nantucket sea creature, and now, the owner of an international hotel chain wants him to hightail it to the Pacific island that the company hopes to build on. It seems that a party of men has already been lost there, the only survivor being in an unqualified zombie state. So off Knight goes, accompanied by his beautiful but prim research assistant (played by Scranton-born Beverly Tyler), a tough blonde architect/designer (Jean Engstrom), the zombie and his doctor, and a hotel chain rep (Murvyn Vye). En route, they stop over at a nearby island, where they charter a boat from its greedy owner (the great character actor Elisha Cook, Jr., always a welcome presence in any film) and his hunky-dude right-hand man (played by Rhodes Reason, who my fellow Trekkers may recall as Flavius from the episode "Bread and Circuses"). And then...it is on to the eponymous Voodoo Island....

So, you might be asking yourself at this point, just how bad IS "Voodoo Island"? Well, I'm not gonna lie to you: Objectively speaking, the film really IS pretty lame. Not the slightest bit scary and only occasionally suspenseful, the picture also suffers from a weak script and an ending that even the most forgiving viewer would categorize as a letdown...and an overly abrupt letdown, at that. Seemingly inevitable is the halfhearted romantic subplot that we must bear with, as Knight's lovely but repressed assistant and the Reason character (who I suppose suffers with what today is termed PTSD) squabble, make up and discover love. None of the characters are all that likable, and even Karloff's is something of a stuck-up know-it-all (or so he thinks). The direction by Reginald LeBorg (whose previous "psychotronic" credits include "Weird Woman," "The Mummy's Ghost" and "Dead Man's Eyes," all from 1944) is uninspired, the FX are weak, and the beautiful Hawaiian scenery...well, let's just say that it's a shame that this thing was not shot in color!

Fortunately, though, there IS some good news, especially for Karloff's fans. For that special breed (of which I count myself a member), any opportunity to watch this fascinating actor, and to hear that wonderfully mellifluous voice, is a pleasurable one. Simply stated: Boris saves this movie from being a total loss just by his mere presence. Plus, once on Voodoo Island, the picture becomes very much a "safari film," a subgenre for which I have been a sucker ever since I was a little kid. And then there are those cobra-headed, carnivorous plants, easily the most horrific aspect of the film, and they DO make for some cheezy fun. The acting by one and all is better than this material would seem to demand, and...well, that's about it. I really cannot come up with any more pluses, no matter how hard I try. Truth to tell, this film really is for Uncle Boris completists only. I'm not sure if it's his worst, as I still have never experienced such supposed late-career stinkers as "Snake People" and "Cauldron of Blood," but of the 40 Karloff films that I have seen, this one is certainly right near the bottom. On the flip side of this MGM DVD can be found the 1959 chiller "The Four Skulls of Jonathan Drake," another film dealing with the subject of voodoo, and this is where the real horrors reside on this disc. "The public loves to be scared," Phillip Knight tells us at one point; too bad his picture just isn't up to the task!

Given the fair warning so generously given me by others, I was prepared for the very worst but surprise, surprise...it wasn't all that bad, after all.

I can't say it was very compelling, true, but it wasn't "dreadfully boring" either, as it's been called. There were some cringe-inducing moments to be sure, particularly when Elisha Cook 'freaked out' towards the end - and I'm still not sure what function the older of the two ladies was supposed to be occupying within the group, but I did find the lesbian undertones (with good reason since I did find Karloff's secretary rather attractive myself) surprising for a schlocky B-movie of its era! So, no great shakes definitely but an adequate time-waster nonetheless...though the voodoo promised by the title had nothing to do with the man-eating plants we eventually ended up with!

Maybe when I get more acquainted with Karloff's other programmers, my opinion of this film will take a nose-dive but so far, it was a watchable diversion and nothing more; besides it was nice to see Karloff in a straight, i.e. non-menacing, role - though it was somewhat uncomfortable to watch him stumble about on many occasions (due to his illness and old age).

I first saw this film on T.V. when I was about six years old back in the 1960s. Years later I heard this film was pretty bad. I happened to recently find a badly transfered video copy at my local video. I took it home and watched it. I did not find it as bad as I expected. The parts I liked as a kid I still found effective. Critics slammed Boris Karloff here, but he is smooth and professional. However I don't think anyone would say this was one of his best performances. The best performance in the film is Elisha Cook. The ending sequence is quite creepy and Cook pulls it off well. The rest of the cast just goes through the motions. The script however, leaves a lot to be desired. As far as I know, nothing remotely like Voodoo is practised in Polynesia where this film takes place. I also was annoyed with the mish mash of supernatural and science fiction elements. The giant carnivorous plants are explained as relics from a prehistoric age; hence science fiction. The Voodoo stuff is purely supernatural fantasy. The giant plants are effective. In frightening scene, they swallow a little girl. However they have nothing to do with the plot. They are thrown in just to use up running time and seem almost to have dropped in from some other film. None the less, this film does have a few good shocks.