Between shooting MOUNTAIN
OF THE CANNIBAL GOD and BIG ALLIGATOR RIVER, Sergio Martino helmed an ambitious,
Lovecraft tinged tale that contains enough fanciful elements to fill three separate
pictures. Mingling THE ISLAND OF DR. MOREAU with THE CREATURE FROM THE BLACK
LAGOON, ISLAND OF THE FISHMEN is a delirious medley of volcanic eruptions, voodoo
priestesses, mad scientists, amphibious monsters and lost civilizations, all
corralled within a booby trapped tropical isle that makes the island on “Lost”
look like an ad for Beaches all inclusive resorts. Absurd yet endearing, low
budget but with charm, FISHMEN is ideal entertainment for an adventurous Saturday
matinee.
Lost at sea with an assembly of convicts, Lieutenant Claude de Ross (Claudio
Cassinelli, SCORPION WITH TWO TAILS) is tossed overboard late one foggy night
when his life raft grounds itself on the jagged coastline of an uncharted island.
Marooned, starving and dehydrated, Claude finds himself one of only a handful
of survivors stranded in a jungle filled with dangerous pitfalls and hostile
wildlife. While exploring their new surroundings, Claude and the remaining men
happen upon the remnants of an abandoned voodoo ritual site, giving clue that
the island they are stuck on may in fact be inhabited. Such a notion is quickly
confirmed when the group is approached by a beautiful woman on horseback. Clean
and well dressed, the woman (Barbara Bach, THE SPY WHO LOVED ME) insists that
the men head back to the beach or risk finding themselves trapped in a fate
worse than death. Ignoring her plea of caution, the men instead follow the beauty,
eventually making their way to a mansion occupied by the island's owner, Edmond
Rackham (Richard Johnson, THE HAUNTING). Edmond is none too pleased at the arrival
of uninvited guests, nor is he thrilled with the way his beloved Amanda swoons
over Claude, but he eventually agrees to allow the remaining men food and a
place to rest on his property. It however doesn’t take long for the convicts
to fall back on old habits, as later that night Amanda is attacked by a would
be rapist, who instead of tender flesh finds himself thrashed and bloodied by
a nautical beast of great size and strength.
With
his fellow castaways turning up missing, Claude confronts Edmond as to the purpose
of his isolation, only to be put in his place and reminded that it is he who
is trespassing and that on this island, Edmond is the law. Backed by an army
of restless natives and a voodoo priestess named Shakira (Beryl Cunningham,
DORIAN GRAY), Claude reluctantly bites his tongue but continues to explore the
island, seeking to uncover the secrets that both Edmond and Amanda are clearly
trying to conceal. Following Amanda as she rides effortlessly through the jungle's
treacherous terrain, Claude is attacked by a monster -- half man, half fish
-- which if not for Amanda’s intervention, would have ripped the good
doctor’s throat out. Fed up with the conspiracy and lies, Claude demands
answers but Amanda is still unwilling to come clean. Instead she pleads with
Claude to travel to the other side of the island, build a raft and swim for
safety. The Lieutenant is however not about to turn tail and run anytime soon.
Stubborn as the day is long, Claude continues to explore the island eventually
uncovering an uncanny plot that involves hidden treasure, ancient prophecies,
scientific experimentation against man and nature and the lost city of Atlantis.
There’s no nudity, save for fleeting glimpses of Barbara Bach's nipples,
very little gore and the title Fishmen look like they were put together mere
minutes before filming began, but damn it all if ISLAND OF THE FISHMEN isn't
a good time. Set in 1891, L'isola degli uomini pesce was purportedly filmed
concurrently with Lucio Fulci’s magnum opus ZOMBIE, sharing both locations
and actor Richard Johnson. Martino would himself recycle both setting and cast,
as shortly after wrapping on FISHMEN he again cast Barbara Bach, Claudio Cassinelli
and Richard Johnson in BIG ALLIGATOR RIVER. Tame though the violence might be,
ISLAND OF THE FISHMEN is an extremely enjoyable outing due in part to its “throw
in everything including the kitchen sink” story structure. There is just
so much going on that it’s best to simply turn off your brain and any
concept of logic, sit back and just enjoy the ride. The production as a whole
is simply captivating. Miniature work, while easily discernable, is nonetheless
amusing and the fishmen’s signature howl, a shabby, cut and paste combination
of an elephant’s call and a tiger roar, up the cheese level in way that
brings back fond memories of Saturday afternoons spent feasting on Doritos and
Red Kool-Aid while enjoying throwback adventure yarns and Godzilla movies on
basic cable.
Picked
up for U.S. distribution by Roger Corman, ISLAND OF THE FISHMEN subsequently
went through several overhauls and titles (ISLAND OF MUTATIONS, SOMETHING WAITS
IN THE DARK) before finally finding peace under the title SCREAMERS. In an attempt
to punch up a picture that otherwise had very little in the way of gore, Corman
tapped Miller Drake to film several inserts designed to enhance the film's theatrical
value, as well as a new opening to precede the re-dubbed and re-cut version
of the film. Running just under twelve minutes, the new opening featured Cameron
Mitchell (THE TOOLBOX MURDERS) as Decker, a boat captain hired to escort two
explorers to the “Cave of the Dead” in their search for fortune
and glory. All involved are made quick work by the monstrous Fishmen, adding
little to the original film other than additional blood and guts, thus fulfilling
its desired goal. Additional changes can be spotted here and there, the most
significant of which is the final fate of convict José, played by Franco
Iavarone (GAMBLING CITY). In the original, José is found by Claude and
Amanda in her father’s secret laboratory, mutated into an aquatic creature
with an exoskeleton type frame. In SCREAMERS, the set up remains the same however
José’s outcome has been changed. Instead of a crustacean man, José's
appearance is that of a younger brother to the Gillman only with a severe case
of jaundice. While the make-up and effects are more impressive, such a change
was hardly necessary and in no way backs up the film's American ad campaign,
which promised viewers the chance at seeing “men turned inside out! And
worse... they're still alive!”
SCREAMERS has been available on VHS for sometime, released by Embassy Home Entertainment,
but if you wanted FISHMEN in its original form you were stuck ordering from
overseas, either from NoShame who released the picture on DVD in Italy or from
Marketing Film, who released both FISHMEN and its sequel THE FISHMEN AND THEIR
QUEEN in Germany. That is until now. Presenting the film stateside for the first
time, Mya Communication offers ISLAND OF THE FISHMEN in anamorphic widescreen,
preserving the film’s original 2.35:1 aspect ratio. There is very little
in the way of print damage and colors are for the most part solid with a commendable
amount of detail. There is however one scene, in which Bach travels to the shore
to visits the Fishmen and is later attacked by one of the convicts on her way
back home, that is so dark and murky that it’s hard to see anything at
all. Making matters worse, said scene is the one and only source of titillation
as it features Bach in a clingy, water soaked nightgown. Audio is presented
in both an English dub and Italian language track, both in mono stereo. Both
tracks are serviceable, without any glaring flaws however unless you understand
Italian, you will want to stick with the English dub as no subtitles, English
or otherwise, are provided. Extras include a theatrical trailer and photo gallery
that includes both stills and advertising materials, including the film's fanciful
Italian theatrical poster that Mya has wisely made use of for this release's
cover.
Compared to the VHS copies and bootlegs of SCREAMERS that are still floating
around, Mya’s latest represents a vast improvement both in audio and picture
quality. It might be mindless entertainment, but it’s mindless entertainment
worth seeking out. (Jason
McElreath)