L'Île de la terreur

It was the early 70's when I first saw Island of Terror on a Saturday late night horror show called Shock Theatre. I've always been a fan of Peter Cushing and his films so when I read that he was in it that made it a must see. We were hearing more and more about cancer research so this movie had relevence to the times. Growing up as a youngster in a rural area surrounded by livestock, the opening scene with the dead horse spooked me. At the time I first saw the film, the idea of Cancer research going haywire was a possiblilty and having your bones sucked out of your body while you were alive sent chills through my body. As the creatures were shown more and more, took more victims in varying fashions, more and more lights were turned on in my living room where I was watching the movie. The ending put the icing on the cake and I slept with the lights on for about a week. I had seen many horror movies including The Blob, but this was the only one to really get me sacred and keep me scared. I strongly recommend this movie to everyone. It's got suspence, surprises, a bit of humor, some horror, is just an enjoyable movie to watch and is one of my favorites. It's been many years since I've seen the movie so I just ordered a copy to enjoy again and again. Definately a classic for anyone's movie library.

I've noticed some reviews talking about how cheap the special effects were and the weak story/plot line, but these are all comparing the film to the standards of todays filmaking. As a child I didn't notice any of the effects simplistics. I was looking for some entertainment and a good late night scare, and Island of Terror delivered.

A reclusive scientist working on a cancer cure inadvertently unleashes deadly creatures onto the local population, turning it into an...Island Of Terror!

'Island Of Terror' is an interesting midpoint between 50s sci-fi and 60s Hammer horror - too light for what Hammer and Amicus usually produced, but their gravitational pull is evident. There's something very Quatermass about science unleashing havoc, yet science also providing the solution. There's a nice element of mystery to set the scene, with people being brutally murdered off-screen and their corpses being discovered sans bones, but at the same time, you are left in no doubt that there must be some connection with the scientist up in the manor house and his secretive experiments. Soon enough, the horror he unleashes becomes apparent, and it's up to the three 'responsible' scientists, played by Edward Judd, Peter Cushing, and Eddie Byrne, for whom the film goes to great pains to show how responsible they are as they wisely spend a lot of time studying notes before taking action and applying science methodically, while the uneducated locals must wait patiently because science takes time and there's a process to things. Yes, there are monsters coming over the hill, but there's a procedure to everything and it has to be followed. One can't really disagree with any of this, but the way in which the film portrays the scientific method if anything, shows how long ago it was held in such high regard - it's just hard to imagine a film doing this today. The nature and form of the monsters themselves instantly brings to mind the classic Star Trek episode 'Devil In The Dark', although their appearance and design is more classic Doctor Who. Which is quite fitting, given that Quatermass inspired early Doctor Who, lead Peter Cushing had been playing him on the big screen for the last two years, and both 'Dr Who & The Daleks' and 'Island Of Terror' were scored by Malcolm Lockyer.

Cushing, I have to say, is wonderful in this film. A far cry from the sombre puritans or mad scientists he would soon become well-known for, here, he is dashing, rounded, and somehow far more natural in his performance. This is more of the Peter Cushing the world used to see before horror films took over his life and it's great to see within the part of his filmography I'm more interested in. Unfortunately, the rest of the cast are extremely theatrical by comparison, with Edward Judd getting very declarative by the end - he reminds me of the way Basil Rathbone as Sherlock Holmes would practically give speeches on the proper order of things before the closing credits. I'm almost expecting him to turn to the quivering frequently-Carole Gray and say 'Don't worry, my dear - science will save you!' Nonetheless, Judd is the archetypal square-jawed hero and fits the part.

Director Terence Fisher was a firmly-established horror veteran by this point, with the Dracula series and one of my favorites, 'The Gorgon' his recent successes. Having seen the latter again fairly recently, I noticed the same approach to mood lighting, although this time around, the 'big reveal' happens earlier, and Fisher leaves the design team to breathe life into the antagonists of the piece. I think he would have gotten away with it for the most part, but for aspects of the design (read: appendages) that require puppetmasters more skilled than those on offer for them to stand a snowflake's chance in hell of convincing the viewer. They work fine when they're hovering menacingly around a door frame, but not so much when the dreaded miscreation they're attached to shuffles into view. The only reason it even half-works is because the cast face their foes with the same conviction the Doctor Who stars were so frequently seen to give down on the sound stages of Lime Grove.

Less defensible, unfortunately, is Malcolm Lockyer's frequently light and fluffy score. His trademark cues and melodies worked wonders in 1965's 'Dr Who & The Daleks', where the words 'kids matinée' were practically stamped into Roy Castle's forehead, but it's hard to feel a sense of creeping foreboding in 'Island Of Terror' when the camera is panning through the eerie, deserted scientist's mansion accompanied by xylophone motifs. This is a film where the production values need every other department on board to help project a convincingly menacing atmosphere - not have the composer imagining cartoon bees dancing on toadstools. Again, this underscores for me how the film sits between two genres and no-one's fully made up their minds which way it should go.

Putting all these elements together, I find myself giving 'Island Of Terror' a 6 out of 10. I'm frequently drawn to Peter Cushing like a magnet, and he's in fine form here. I love the idea behind the monsters of the piece, and the respect given to science as it triumphs over all when used properly. Alas, the creatures' design needed a slight revision on the drawing board under the title 'Let's be realistic about what we're able to do here', while James Bernard should have been placed in the conductor's chair. A pleasing effort, and worth a look especially if sci-fi of the period appeals.

While researching a possible cure for cancer on an island off the coast of Ireland, the renowned scientist in charge of the project accidentally creates a living organism that feeds off of all other living creatures. Since the island isn't very big, three doctors named "Brian Stanley" (Peter Cushing), "David West" (Edward Judd) and "Reginald Landers" (Eddie Byrne) desperately look for a way to kill these organisms before it's too late. Helping them is David West's girlfriend, "Toni Merrill" (Carole Gray). Anyway, filmed in the mid-60's, this movie has good suspense and keeps the tension going pretty much from start to finish. The acting was okay but I imagine most people will find the special effects to be quite primitive compared to the computer enhanced graphics used today. Even so, the movie managed to maintain my interest and I believe most people will find it relatively enjoyable all the same. Slightly above average.

"Island of Terror" is a good film....and I do recommend you see it. However, be forewarned that the monsters in the movies are among the silliest looking you can find in films.

The story is set on an isolated Irish island. The local doctor is shocked when a corpse is discovered with all of its bones turned to liquid! This ain't normal and he soon goes off island to get help. Oddly, instead of getting LOTS of help, he secretly brings two doctors back with them. Soon, they discover a mass of horrid creatures that looked like the Horta from the original "Star Trek" but with a tentacle that could kill! Unfortunately, killing them is a serious problem as dynamite, guns and the like have no effect. Is there any prayer for this island and its inhabitants?

You just have to see the creatures....and you'll know what I mean...and you'll realize just how silly it all is. But, despite that, Peter Cushing and the gang do a nice job of playing their parts...and the film creates a great mood. Worth watching but very flawed.

Tom Blakely's Planet Productions made just four features, three of which were this film, 1964's "Devils of Darkness," and 1967's "Night of the Big Heat" (their last). For ISLAND and NIGHT, they secured the services of Hammer director Terence Fisher and Hammer star Peter Cushing, adding Christopher Lee to the cast of NIGHT for extra measure. DEVILS was an odd footnote, the first British vampire film set not in the Gothic world represented so well by Hammer, but in the modern day, otherwise undistinguished. Terence Fisher expressed no fondness for science fiction, and his early black and white Hammer entries, "Four Sided Triangle," "Stolen Face," and "Spaceways" (all 1952), are all overly talkative and extremely dull. 1964's "The Earth Dies Screaming" was a modest step up, a very low budget alien invasion represented by a tiny cast and one single robot. Fisher's two Planet features make quite a matched set, perhaps not as revered as his better known Hammer efforts, but allowing him to focus on his cast of characters, presenting them in dangerous situations that create tension. Fisher always emphasized the human side of his monsters, and even in these two sci fi entries, he remains true to form. Both scripts benefit from finely etched characterizations, and wonderful actors bringing them to vibrant life. In ISLAND OF TERROR, an isolated island off the East coast of Ireland is the setting of an invasion created by scientists searching for a cure for cancer, creating a form of life that survives by devouring the bones of people and animals. Sam Kydd plays the constable, John Harris, who discovers a missing farmer dead in a cave, the body a mass of jelly. Eddie Byrne (THE MUMMY, THE VENGEANCE OF FU MANCHU, STAR WARS) is the island doctor, scoffing at the apt description of the corpse: "there was no face, just a horrible mush, with the eyes sittin' in it." Both actors, well known faces in British cinema, are so natural in these roles that the horror of the situation is instantly established with great credibility, and this is BEFORE the introduction of the heroic Peter Cushing, who never fails to convey sincerity in even the smallest of parts. Here, Cushing occasionally takes a back seat to second billed Edward Judd, but both work well in tandem, putting together the scientist's notes as to what went on in the laboratory, and learning how to stop the onslaught of terror. Cushing was usually the voice of reason, the authority figure, a character the audience trusts completely to present all the facts to them, yet here, his character is not so sure of himself, a quick quip to try to hide his fear, a more believably written hero, and this marvelous performer delivers one of his very best. The low budget special effects, especially the eating sounds, deliver on a modest scale, and the harrowing sequence where Cushing is attacked and implores Judd to chop off his hand at the wrist is the stuff of childhood nightmares. A first time viewer may be surprised at the unusual depth of characterization, and Niall MacGinnis (NIGHT OF THE DEMON, DR. TERROR'S HOUSE OF HORRORS, TORTURE GARDEN), as the island's leader, Liam Gaffney as the first victim, even the smallest of roles are played faultlessly. Of course, when one puzzled islander remarks "some peculiar goings-on going on on this island," there's always a risk that unintended humor might overcome the intended, but it's not fatal. Superior to NIGHT OF THE BIG HEAT, and proof that Terence Fisher could make excellent science fiction, provided he had a script that presented human characters little different from the ones in his Gothic chillers. Make no mistake, this is definitely a CHILLER, and one of Richard Gordon's infrequent productions, ranging from "Mother Riley Meets the Vampire" (Bela Lugosi), "Grip of the Strangler" (Boris Karloff), "Corridors of Blood" (Karloff and Christopher Lee), "Devil Doll," "Curse of Simba," "The Projected Man," "Tower of Evil" (all four with Bryant Haliday), "Horror Hospital" (Michael Gough), "The Cat and the Canary" (Carol Lynley), and finally "Inseminoid" (Judy Geeson and Stephanie Beacham). Thirty years of genre cinema with the greatest stars of their day.