by John Tillyard, Contributing Writer
After a plane crash in the Pacific, in the 1950s, a group of young boys find themselves stranded on a desert island, with no adults. Ralph (Winston Sawyers) and a fat boy everyone calls Piggy (David McKenna) attempt to govern the group by establishing rules and making plans to be rescued using a signal fire. However, the choir boys and their leader, Jack (Lox Pratt), are more interested in going hunting for food and killing a creature they simply call“The Beast.” Over time on the island, the boys gradually become less organized and more like savages, taking little to no responsibility for their long-term survival.
Based on the 1954 novel of the same name, by William Golding, this is the first-ever attempt to adapt the novel for television, following two largely forgettable films in 1963 and 1990. The setting of an island in the middle of the ocean for the entire story, and the need for a large cast of child actors with no adults, undoubtedly made this a difficult story to adapt for television or film. Personally, I feel the story works better as a mini-series, as there isn’t enough time in a film to show the boys’ gradual descent into savagery.
This version really thrives on the story’s tone and atmosphere. The deserted island’s setting creates an eerie calm as the boys enjoy the tropical paradise, while at the same time wondering how safe it is and whether anyone is coming for them. This version attempts to explore some of the character’s more internal struggles with LOST-style flashbacks that aren’t in the novel. It gives the story a bigger scope and enables the characters to feel more real. Piggy, in particular, is a more likeable and smarter character who fills the viewer with far more confidence. In the novel, the three main characters felt a little underdeveloped, as we learned very little about their lives before the island. Ralph was the leader, Piggy was second in command, and Jack was their foil. Here, there is more insight into why these characters assume these roles, and they feel much more like people than archetypes.
Each of the four episodes focuses on a different character, helping the audience see the events from each character’s perspective. The episode about Simon (Ike Talbut) was a particular standout in this regard; his history with Jack is explored, giving you a far better understanding of the kind of relationship they have. It similarly helps you understand how Jack uses people.
While the outline of the story is the same as the novel’s, and most of the key events are the same, there are several major changes in how things unfold, along with many additional scenes. A lot of these changes seem to make the experience more interesting for the visual medium of television; others add more drama to what happens, for example, a death near the end of the story is far more stretched out here than it was in the book, giving the loss more impact. Piggy’s real name is also revealed in this to give more weight to his and Ralph’s bond. However, one change that seems odd to me is an additional scene in the first episode where they find the pilot’s body from the plane and discuss what to do with it. I don’t fully understand what this adds. What’s more, later the boys misinterpret the sight of a body on a mountain; this is a key moment in the novel, integral to the plot, but with the addition of the scene with the pilot’s body before this, it comes across as a bit confusing.
Another negative for me, at least, is the pacing in some parts. Despite being only four episodes, it still feels a little dragged out and could have been shaved down to three. There are several points in the series where they leave it to the visuals and atmosphere to tell the story, with the music swelling to enhance the drama. I don’t mind this kind of thing as a one-off moment, but they did this so often that it started to get on my nerves. There are also a few moments where they show random boys’ faces as if they are posing for a passport photo; I didn’t really get it.
Outside of these moments, however, the tone and feel of the whole experience is masterful. There are a ton of stunning visuals that do a great job of utilizing the tropical island setting. There is a real sense of isolation in this setting, and the visuals fully convey the excitement and fear that come with being a child free from adult supervision and protection. The boy’s descent into savagery is shown visually by the slow disregard of clothing and the increase of war paint and blood on their skin. Many more elements from Golding’s novel are brought to life here through the visual medium in a way neither of the previous adaptations did.
The real strength of this series lies in its cast. Finding good child actors can be a real challenge; that’s why many high school dramas feature students played by actors in their twenties. But here the cast are all the actual age of their characters, and despite having no other experienced cast members to work off of, they all do an outstanding job as children in a story that is anything but a children’s story. A particular standout is Pratt channeling a clear upper-class vibe and the feeling that he knows better. This type of performance will also suit him perfectly when he portrays Draco Malfoy in the upcoming Harry Potter series.
Overall, this adaptation captures the novel’s tone and message, with beautiful cinematography and an impressive cast. It’s a little longer than it needs to be and hardcore fans of the novel might be disappointed by some of the changes. But personally, I’m just happy that, after more than 70 years, this novel finally has an adaptation that does justice to the source material.
Rating: Liked It
Lord of the Flies is currently playing on the BBC iPlayer and BBC One, and will be coming to Netflix in the US later in 2026.
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