L'île de la terreur

Hereditary phobias drive Millie (Virginia Valli)and her grandfather (Nigel De Brulier) to retreat from the world on a small deserted island off the Florida coast. There is some reference to the grandfather's exile as a self-induced political banishment but the two are so fraught with anxiety attacks that it seems implausible that they would get up the courage to ever leave their home in the first place.

In another part of the world, John Woolfolk (Frank Mayo) marries and loses his bride in the same day in an accident. He takes to the sea in his small sailing boat (tiny yacht?) with his first mate, Paul Harvard (former Keystone cop Sgt. Ford Sterling) to forget and also to avoid ever falling in love again.

Prior to John's dropping anchor in the island's bay for fresh water, an escaped homicidal maniac Iscah Nicholas (Charles A. Post) attaches himself to Millie and grandpa and basically terrorizes them both. He gets a hankering for Millie, constantly threatening her and vowing to kill her grandfather if she doesn't do his bidding which includes kissing and ultimately marriage. Millie has a wanted poster saying that Charles is an escaped murderer convicted of killing an elderly woman.

Nellie falls for john as he stays anchored in the harbor and their love blossoms even though John is still in denial. He sails away only to turn around to retrieve Millie.

Millie of course is thrilled he's back and when he finally proposes to take her away with him, she is afraid to leave. He convinces her but she is still fearful of Isach. They agree that she will steal away with grandpa before Isach is the wiser but Isach knows there is something brewing and catches Millie and Grandpa putting on their coats (in Florida?!) to leave. He kills grandpa and takes Millie up the stairs to the bedroom and ties her up.

John shows up to get Millie, gun in hand, and discovering grandpa face down on the livingroom floor, he hears noises from upstairs and goes to investigate. When he reaches the door, the gun gets knocked out of his hand and Isach jumps him in a fight to the death. Isach is twice as large as John and motivated. Meanwhile, Millie is shown squirming in the bed half clothed (for 1924).

It is quite a fight. After skirmishing their way down a steep flight of stairs and into the livingroom, John finds a knife in the struggle and manages to stick it into Isach. That at least slows the madman down enough to allow John and Millie to leave the house. Isach follows and gets knifed again. John and Millie make their way to the dock where first mate Paul is waiting and he jumps in to continue the fight while John and Millie make their getaway in a dinghy.

Once aboard the yacht, they make their plans to cast off. Somehow Isach has found a gun and from the dock, wounds Paul in the head as his comes on deck to way anchor.

Something that has always been present in this movie finally gets Isach and the castaways brave the breakers in rough seas to get away. Paul passes out from his wound and the once timid Millie finds herself navigating the breakers as John does the depth sounds. Somewhere in here Millie is able to overcome her fears and leave them behind.

What makes this film magical is the new score. I amplifies the exotic nature of this tale. Kudos to the TCM winning composer.

John Woolfolk (Framk Mayo) has his new bride tragically killed right after they get married. He decides to seal himself off from other people and sail the seas. After a few years he comes ashore and finds beautiful Millie (Virginia Valli) who lives with her senile father and childlike but violent Nicholas (Charles A. Post). Millie falls for John and, eventually, breaks through to him. He wants to take her and her father away--but Nicholas has other plans...

Pretty much unknown until TCM showed it recently. It's a beautiful print with nicely tinted scenes and a great new score also. The film itself is just basically a nice solid drama--well acted and directed. Valli is beautiful, Mayo is masculine and Post is downright frightening as Nicholas. Well-done movie--worth catching.

Firstly, I agree with all the other reviews. My main reason for posting this comment is to clarify this takes place off the south Georgia coast. It's no War and Peace but is a fun viewing, expertly done by the very young director King Vidor. Also little known Silent Screen Siren, Virgina Valli, is particularly lovely and effective Southern Heroine, a real precursor to Blanche DuBois, living among her ruined finery. The locales in this film look surprisingly authentic. As a native Georgian, I have spent many vacations along the coast. I would imagine it was likely to have had exterior shots done on location. The set for the delapidated plantation house was also beautifully rendered. The exterior sets were also excellent.

Some pretty cool shooting on location in the swamps of Georgia, which director King Vidor pushed for and which was a big milestone for Hollywood, and some nice footage at sea as well. Unfortunately, it's not very remarkable otherwise. The story is weak, the pace is slow, and the cast has no star appeal. The characters in the deep South are also very cartoonish. I liked the scene where the widower (Frank Mayo) is thinking of the young woman (Virginia Valli), and she comes to him in an overlay, and it's probably the film's best, much better than the long, drawn-out brawl.

Favorite intertitle: "Mystery - the insidious scents of earth - the veiled lure of sex - Life's traps were set with just such treacheries!-"

When a windblown newspaper spooks the horses pulling John Woolfolk's carriage, his wife is thrown out and killed. He tries to escape his grief by taking to the high seas only to find reason to love again when he encounters an emotionally damaged young woman, the granddaughter of a reclusive southerner on the Georgia coast. But their happiness depends on his finding a way to defeat a deranged and murderous man whose lust for her and threats of violence have turned her and her grandfather into psychological hostages.

Although "Wild Oranges" is a lesser known King Vidor film, its uncompromising realism makes it more satisfying and less dated than some of his more stylized and prestigious later productions. I will never forget the image of Woolfolk trying to revive his dead wife, her eyes open and unresponsive.

Frank Mayo and Virginia Valli give honest, understated performances as Woolfolk and his new-found love in this 1924 film whose atmospheric evocation of evil lurking in a coastal swamp (images of Spanish moss waving in the breeze were shot on location in Florida) is somewhat reminiscent of the finale in the 1961 film "Cape Fear."