Let's be realistic.

i must have seen a different film!!

One of the most extraordinary films you will see this year. Take that as you want.

The film never slows down or bores, plunging from one harrowing sequence to the next.

. . . often say that they're stumped by the vast amount of Bad Karma continually plaguing the World's tonsils, France (aka, "Germany's playground"). DEVIL'S ISLAND is just one of the many flicks that help answer the question, "What did France ever do to deserve all of THIS?" As the opening scroll for DEVIL'S ISLAND says, the French want to BREAK their convicts, NOT to remake them. (This is particularly galling, given the fact that rampant corruption insures that more than half of the French Penal Population is innocent of anything other than being born in or visiting France.) Compared to DEVIL'S ISLAND, America's Alcatraz was an upbeat place where Birdmen flourished and the Capones of Society died peacefully of old age. Conversely, on DEVIL'S ISLAND any dissent was met with swift beheading. While the crusading neurosurgeon of DEVIL'S ISLAND may be a little typecast from his previous Brainiac Roles, he seems to be only a whisker away here from riding with the Ghost Stuntmen of the Sky. However, he found it worth this risk to Fry the French.

In the tradition of waste not at movie studios the sets made for The Life Of Emile Zola get recycled for this short B film Devil's Island. Boris Karloff steps away from the horror genre and has the lead here. We get both the courtroom and the Devil's Island sets, Jack Warner was being most economical.As cinema this film will never rank with something like Papillon or even Passage To Marseilles which Warner Brothers did a few years later. Karloff plays a doctor who does a Samuel Mudd here, treats a wounded escaping prisoner and is charged with treason and given ten years hard labor at the notorious Carribean prison.It's a harsh and corrupt regime there that commandant James Stephenson runs. Even when Karloff saves the life of his daughter it's back to hard labor for him. But he develops a friend and ally in Stephenson's wife Nedda Harrigan.The ending is rather tacked on and artificial and things get tied up too neatly to be real. But it is nice seeing Karloff not conducting any sinister experiments for a change.

At this point in his career, Boris Karloff (1887-1969) was often billed simply as "Karloff" (in all capitals), but for this 1939 WB prison drama he is Boris Karloff. He started in films in 1916 and up until 1931 he was a bit player in B films. Then came "Frankenstein" (1931), "The Mummy" (1932) and "The Mask of Fu Manchu" (1932) and he was off on a whirlwind career that lasted for decades, usually playing the villain. In this film Karloff plays the hero, one of his earliest turns as the guy in the white hat.The film is unremarkable, apart from the heavy handed musical score that is intrusive. Karloff does a good job as the wronged physician, and the rest of the cast do their job adequately. Some of the scenes highlight awful conditions, including the guillotine scene.The film is reminiscent of John Ford's "The Prisoner of Shark Island" (1936) in which Dr. Samuel Mudd is wrongly convicted and sent to prison in Key West where he helped with an outbreak of yellow fever and then was pardoned. Comparing the two, I liked Shark Island better.Looking at other films about Devil's Island, my preferences are for "Papillon" (1973) and "We're no Angels" (1955).

Boris Karloff was my reason for seeing Devil's Island, and when I did see it I found myself liking it very much. Of Warner Archive's Boris Karloff Triple Feature collection, it is easily the best of the three films, having liked West of Shanghai and hated The Invisible Menace(Karloff is the best thing about both those films though). Devil's Island, to me, is not without its faults either, the beginning did seem rather tacked on and the music was annoying and often not really appropriate. Devil's Island however is an atmospherically shot film and the settings are suitably moody. The dialogue is thoughtful and to the point, also written in a way that allows you to care for the characters, while the story is well-paced, sustains the short length(in the way that The Invisible Menace failed to do), is tightly structured and sticks like glue to its subject rather than going on a tangent. The acting is good, very good in the case of the two leads, the supporting cast are not faced with sketchy characterisations like with West of Shanghai and there is no annoying comic relief like in The Invisible Menace. James Stephenson makes for an understated and urbane villain, something that he seemed very well-suited for, while Boris Karloff is forceful and dignified in a role different to what we are used to seeing from him. All in all, a very impressive film, worth checking out. 8/10 Bethany Cox