mark.waltz At just over an hour, this prison drama is riveting from start to finish, sort of a follow-up to "The Life of Emile Zola" as it deals with the themes of prison brutality and reform. Like the Joseph Schildkraut character in that 1937 Best Picture winner, this deals with a man unjustly sent to Devil's Island, treated cruelly, yet mercifully saving the life of the daughter of prison head Henry Stephenson. The brutality of the guards lead to rebellion, an execution by guillotine, and later a hopefully successful escape. A weakened prisoner is forced to work, and in his dying moment accidentally pushes his pick into the path of an oncoming carriage, causing the young girl to fly onto the rocky road, but even the death of a prisoner doesn't stop the guards from continuing their brutality. A sincere performance by Karloff and excellent technical work makes this an above average programmer.

utgard14 Excellent vehicle for the great Boris Karloff to branch out from playing horror roles and play the hero in a drama. Karloff plays a French brain surgeon who attends to a friend shot by the police. The friend is considered an enemy of the state so Karloff is tried and convicted of treason. He's sent to the penal colony on Devil's Island, where he suffers under the brutal conditions and the corrupt commandant in charge.Warner Bros. was no stranger to making prison dramas. They made some of the best. This may not take place in a traditional American prison or chain gang but, make no mistake about it, this has many of the familiar plot elements you expect from those types of films. It's a B picture that barely clocks in at an hour but it's well-paced with terrific acting from Boris Karloff and a solid cast backing him up. It's one of Karloff's best non-horror roles and definitely something his fans will want to see.

TheLittleSongbird 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

MARIO GAUCI DEVIL'S ISLAND proved an interesting change-of-pace for Karloff but one which, I agree, is hampered by its second-feature status: as it stands, potentially controversial issues like miscarriage of justice, as well as prison brutality and corruption, are not dealt with in much detail and the expected showdown between Karloff and the callous warden (James Stephenson, who would die only 2 years later and whose best role was his Oscar-nominated turn in William Wyler's THE LETTER [1940]) never occurs. Instead, we're made to believe that the warden's wife is so grateful for ex-brain surgeon Karloff's having saved their daughter's life that she is perfectly willing to see her husband's ruined by reporting his mistreatment of the prisoners to higher authority - when, prior to the girl's accident, she didn't seem to bother much with them since she used to frequently ride up to the labor camp, in her finest attire, as if going on a Sunday picnic! A brave and well-made B-movie all around but, ultimately, it doesn't really tread new ground and certainly doesn't carry the sheer emotional power of I AM A FUGITIVE FROM A CHAIN GANG (1932).