Fog Island

Wow, Atwill and Zucco together at last. I was expecting crackling transformers, electrical arcs, and monsters galore. No such luck. They do have one minor face-off, but I don't think the producers knew what sinister potential they had in these two veteran madmen.

It's a typical PRC cheap budget— a big drawing room, some secret passages, and an underground room that becomes a swimming pool at inconvenient times. And that's about it. The plot's supposed to be about an island host (Zucco) using a ruse to get people who wronged him onto his island as guests so he can get revenge. Maybe the premise is not very original, but it does have potential. Trouble is there's very little development producing either suspense or mystery. Mostly, it's scattered dialog and playing hide and seek in semi-darkness. In short, the narrative's a series of individual occurrences that fail to build beyond themselves. Thus, we're left with a few interesting set-ups but little more. Too bad.

Oh yes, mustn't forget not just one spider woman, but two—Borg and DeWit. Both are tall, forceful, and attractive. Like Zucco & Atwill, they do have one minor face-off, but I guess I was hoping for an all-out catfight, or more aptly a lioness fight. Now that would have been memorable. Anyway, the film does have its moments, but fails to cohere into anything more.

A pen for Emiline Bronson.

A small book of multiplication tables for John Kavanaugh.

A toy skull for Sylvia Jordan.

A chisel for Alec Richfield.

A knife for Jeff Kingsley.

And a key for Gail, whose last name we never learn.

These are party favors from Leo Grainger, a failed financier whose associates framed him with a fraud rap. He was sent to jail for five years. And someone murdered his rich wife. This night they are all gathered on Fog Island in Grainger's hulking mansion, amidst fog so thick you can lean against it. Grainger invited them with hints that from the money he was convicted of stealing, a fortune still remains buried somewhere in the mansion. However, Jeff Kingsley turns out to be the innocent son of one of the conspirators, a man who has died recently. And Gail is Leo Grainger's stepdaughter, a young woman who seems pouty and resentful, yet who appears to have respect for her stepfather. During this long night, Leo Grainger's party favors will lead to retribution and horrible death.

For fans of low-budget Forties' movies, especially those which feature mystery, death and strange animals, human and otherwise, roaming the moors, two names stand high in the pantheon of actors who deliver the goods: George Zucco and Lionel Atwill. They were born within a year of each other in England, Zucco in 1886 and Atwill in 1885. Both had distinguished stage careers. Zucco left Britain for Hollywood in 1935. Atwill arrived in America in 1915. Atwill was so confident and assured as an actor that it was easy to overlook how hammy he could be. Zucco's mad glare made it easy to overlook how good an actor he was, and how avuncular and reassuring he could be as a good guy. Both settled into strong character parts in the Thirties, often in A-level movies, and both, for different reasons, ended up in more and more low-budget mystery and horror programmers in the Forties...Zucco because as he got older he began to accept any roles offered to him; Atwill because he was involved in a scandal and could only find work in low-budget cheapies.

Fog Island is fun because it is one of the few films the two actors appear in together. Zucco is Leo Grainger, a man who will have his retribution. Atwill is Alec Richfield, one of the instigators of Leo's downfall and a prime suspect in the death of Leo's wife. The third major player, of course, is the glowering mansion set on this isolated island. We quickly learn, as Leo goes about setting his traps, that some of his guests are going to encounter the dank lower chambers carved in the living rock, rooms with hidden doors, pits covered with disguised lids and one water-tight room, deep in the bowels of the island, where horri...well, you need to see the movie.

The film features some barely adequate acting, gloomy and surprisingly rich-looking interiors, a lot of obviously one-take scenes, as well as a suspicious looking butler. And among the cast is that tall, blond specialist in dames you shouldn't trust, Veda Ann Borg. Those fans of low-budget programmers like me miss her.

Fog Island is a rather creepy little chiller from B-movie specialists PRC.

A man who lives in a creepy mansion with his step-daughter on a small island shrouded in fog invites some of his friends to stay. This mansion has hidden extras including secret passages and hidden doorways. The man also gives each of his "friends" strange little gifts including a skull, a key and a times table book. This man has a reason for all this though and strange things start happening...

This movie is quite creepy and atmospheric even though a little slow moving at times.

The cast includes horror B-movie regulars George Zucco (The Flying Serpent, Scared To Death) and Lionel Atwill (The Vampire Bat, House of Dracula).

Fog Island is worth a look at. Not too bad.

Rating: 3 stars out of 5.

This genre of mystery film began in the twenties and ended in the early 1940's. It is a good late night movie to be seen before bedtime. It has none of the overkill of the movies of the 1990's.

Leo Granger, falsely framed for embezzlement and living on Fog Island with his stepdaughter, invites the 4 persons who framed him and one of which is responsible for the murder of Granger's wife. The only reason for the 4 to go to the former pirate hideaway, is that they, along w/ Granger's former cellmate, believe that somewhere in the house is a stash of money, Granger accumulated. One of the four, Kingsley, is the son of the recently deceased person who framed Granger, and is only there for Gail, the step-daughter. At the island, Granger gives each a clue to ultimately get "what's coming to them", and he waits to see how the group's greed will get the best of them. The film has the right atmosphere and a good cast, but that's all to recommend it. Obviously with a PRC budget, you might have had a style similar to Clair's And Then There Were None. Morse's direction is uneven, very often breaking the tension. Still a good production from the studio. Rating, 5.