The Shakespeare tragedy that gave us the expression "How sharper than a serpent's tooth it is to have a thankless child." King Lear has not one but two ungrateful children, and it's ... See full summary »
A group of students from sterne school end up going on a plane flight to a safe haven. There plane crashes on an island and the group of students turn into savages. Then split up into two groups and start killing each other one by one.
A group of young boys are stranded alone on an island. Left to fend for themselves, they must take on the responsibilities of adults, even if they are not ready to do so. Inevitably, two factions form: one group (lead by Ralph) want to build shelters and collect food, whereas Jack's group would rather have fun and HUNT; illustrating the difference between civilization and savagery. Written by
Murray Chapman <firstname.lastname@example.org>
In 1996, 35 years after the film was made, the BBC created a documentary about the making of the film called "Time Flies", which reunited the main cast and crew on the beaches of the Caribbean where it was filmed; an article written by one of the actors, Tom Gaman, mentioned that of the boys, only the one who played Ralph (James Aubrey), pursued an acting career. Others went on to have very different ones: Gaman became a freelance forester in Inverness, California; Hugh Edwards (Piggy) became an engineer for a Russian firm; Tom Chapin became a gold mine geologist in Nevada and the twins David Surtees and Simon Surtees (Samaneric) remained together, living with their families in the UK and working as a guidance counselor and political administrator respectively. (NOTE: Contrary to Mr. Gaman's article, another of the boys besides James Aubrey, Nicholas Hammond, who played Robert, had a quite extensive film AND TV career, playing, among other roles, one of the children in The Sound of Music (1965) and the title role in TV's The Amazing Spider-Man (1977).) See more »
In at least one point in the movie (the scene at the beginning where Ralph is talking about the "rules") his voice is different; sounds like a completely different person (or perhaps by the time overdubbing was done, the actor's voice had changed). See more »
Someone has to stay behind. Piggy...
Sure, protect Piggy like you always do.
Don't be stupid. What can he do with just one eye?
See more »
The opening credits list the entire production crew but none of the actors. See more »
What kid did not fantasize, at one time or another, being left alone, completely unsupervised, for a long, long, LONG period of time? To be allowed to say or do whatever he pleased, whenever he pleased. To eat anything he wanted, to go to bed late, to not go to school, to act or behave as he pleased without reproach. To be his own adult. Usually those kind of thoughts permeated our little minds right after a heavy-duty punishment. In 1990's "Home Alone," we saw a broad, comical take on this fantasy. With 1963's "Lord of the Flies," we get to experience the flip side.
"Lord of the Flies" was required reading in junior high school. William Golding's dark, sobering allegory, set during wartime London, tells the story of a large group of young schoolboys airlifted out of England who are left to their own devices after a plane crash leaves them marooned on an uninhabited isle with no surviving adults. As the boys struggle to adapt to their crude but strangely exotic "Robinson Crusoe" existence, the troop begins to splinter into two opposing sects after failing to come to terms on an autonomous code of ethics. Most of the boys decide to revel in their unsupervised freedom, reverting to primitive, animal-like behavior while resorting to barbaric acts and ritualistic practices. A conch shell becomes the embodiment of power; a boar's head a symbol of lordly conquest. On the other side, a minority group try to repel the tempting force of evil by forming a more civilized commune. Eventually the "survival of the fittest" factor sets in as the anointed leader of the hostile group incites violence to force an autocracy.
Golding's fascinating premise certainly does not hold much hope for the future of mankind. We are conditioned as a people to be civilized; it is an acquired trait, NOT an inherent trait according to the author. And if and when the shackles of goodness and purity are at any time removed to the extent that we are allowed to become our own social and moral dictator, we will invariably revert back to what comes naturally. And with a child, who has been less-conditioned, it will take little time at all. Evil is stronger, easier, and much more seductive. When playing "good guys and bad guys" as a kid, which did YOU prefer to be?
Boasting a surprisingly natural cast of amateur actors and directed by radical stage director Peter Brook ("Marat/Sade"), this lowbudget British effort impressively captures much of the novel's back-to-nature symbolism that I found so powerful and fascinating. The young masters representing good and evil, James Aubrey ("Ralph") and Tom Chapin ("Jack"), effectively portray the resolute leaders of the two disparate tribes, while butterball Hugh Edwards as the bespectacled, philosophical "Piggy" and towheaded Tom Gaman as the quietly sensitive "Simon" are touching as two of the weaker followers who become likely targets of the surrounding chaos and burgeoning brutality. What I love most about this cast is that they act like little boys, not little actors, grounding their often awkward actions and behaviors in reality. Trivia note: one of the secondary boy players is none other than Nicholas Hammond, who went on to play young Friedrich in the film classic "The Sound of Music" two years later.
Brook's use of grainy black-and-white photography, plus the lack of any comprehensive musical score (remember Tom Hanks' "Castaway"?), accentuates the bleakness of its surroundings and feelings of isolation. The movie can hardly be expected to capture fully every single intention of this highly complex novel (most don't), but it does respect Golding's words and captures the very essence of what he wanted to say. For that alone it should be applauded.
By the way, don't waste your time on the 1990 color remake featuring "professionals" like Balthazar Getty. The poetic beauty is all but dissipated in this haphazard, jarringly Americanized update. It makes me worship Peter Brook's version even more.
And what story could BE more disturbing yet topical than "The Lord of the Flies" as it applies to today's "latch-key" society?
73 of 78 people found this review helpful.
Was this review helpful to you?