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`Lord of the Flies’ has been made into a movie at least twice since the William Golding modern of the same name became a cult classic / must read volume for high school and college students in the behind 1950s. The first version, which follows the current very closely, was done in dark and white by the celebrated director, Peter Brook in 1963. The second version was done in color by Harry Hook and released in 1990.
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Like many remakes in the same language, one immediately wonders why bother, as the recent Brook version is more than entertaining enough to pronounce the message of the new.
To highlight the differences between the two versions, let me outline the memoir shared by the two versions.
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The scene is area when an airplane carrying school children crashes in the South Pacific, of the flee of a remote tropical island. Approximately 30 of the children, ages 6 to 13 get it to shore and secure on the beach to work out how they are to survive and acquire that since they are far removed from their new destination and the island is diminutive and uninhabited, there is a wonderful chance it will consume a long time, if ever, for grown-ups to accumulate and rescue them. The first two principle characters are Ralph, one of the two or three oldest boys who we meet first, in the company of an smart, bespectacled, slightly overweight boy of the same age known as `Piggy’. The third main character is Jack, about as outmoded and as fit as Ralph. Three minor named characters are Simon, who is prone to fainting and `seeing things’ and Sam and Eric, a pair of twins.
An early vote sets up Ralph as the leader, with a few rules establishing a conch shell found by Ralph and Piggy in the first reel as the symbol of the lawful to recount to the gathering of boys. Jack immediately assumes the responsibility as leader of a `gang’ (later to become a `tribe’) of hunters who will also acquire responsibility for maintaining a signal fire which Ralph succeeds in lighting by using Piggy’s eyeglass lens as a means of concentrating sunlight on a clump of tinder.
Jack’s gang gets interested too worthy in hunting and allows the signal fire to go out objective as an aircraft flies arrive the island. Soon, a legend evolves about the presence of a monster on the island. This creates the pretext for Jack to split off from the group with his tribe and construct a camp at a more defensible state. As this larger group becomes more and more veteran, they raid Ralph’s camp and seize Piggy’s specs since it is the only means they have for starting fires. To placate the monster, the head of a killed wild pig is cleave from its carcass and stood on the top of a pole advance the suspected monster’s lair as an offering to the monster.
After a few days, Simon observes this pig’s head and its very titanic collection of flies feasting on the festering flesh and imagines he hears the pigs head yell to him, hence, the source of the title. Simon is then killed when the hunters mistake him in the night for the monster.
When Ralph and Piggy sprint to Jack’s camp to recover Piggy’s specs, Piggy is killed by another `accident’ when Jack’s tribe members pry a tall boulder loose that falls on Piggy. Ralph and Jack fight, Ralph is driven off, and the whole tribe sets fire to the jungle to flush out Ralph and, presumably, end him. Both stories extinguish as Ralph runs to the beach to procure himself at the feet of a very professionally uniformed member of his country’s elite armed services.
Hook spices up the dialogue by making the boys great more hip with lots of order words and references to contemporary favorite shows such as Alf and Miss Piggy of the Muppets. Unfortunately, Hook loses the two most vital elements of the whole chronicle. In the beginning of the unusual and, subtly, in the beginning of Brook’s film, we observe that the world is once more at war and the boys from several different schools are on a plane to Australia to obtain relative safety from the coming (nuclear? ) conflict. Hook shows nothing of this, giving us simply a group of boys from the same military academy on a traipse to goodness knows where. This totally looses the whole allegorical sense of the fable where the conflict between the boys mirrors the war in the world at big, especially the sense of the last scene where the world (island) is destroyed by the conflict (fire) .
The second major oversight in Hook’s rendition is that there is never enough attention given to the significance of the pig’s head, Simon’s vision, and the sense of `The Lord of the Flies’. A less principal point is that the origin of the monster fable is different in the two movies. Brook’s film follows the book and has it be a misinterpretation of a billowing parachute from a fallen, dreary pilot. Hook creates the chronicle out of the spasms of the downed plane’s delirious pilot as he finds refuge in a cave and is rediscovered by Simon who believes he is a monster.
Both movies do a credible job of depicting the topple of nominally civilized boys into savagery and chronicle. The combat between Ralph and Jack reach the destroy is straight out of Frazier’s `The Golden Bough’ on the account of killing the king. Unfortunately, Hook’s version seems as eviscerated as the pig carcass, as all the mountainous allegorical of the recent memoir are totally lost. And, as minimal as they were, I even reflect the boys’ performances in Brook’s version are better done, as their initial innocence in the face of this loss of civilization makes their transformation all the more racy.
Brook’s version is highly recommended.
It was a pleasure to glance the fresh version of “Lord of the Flies” again. I’ll be eager in seeing the DVD version as well, to peek what additional material comes in that format. Having been one of the boys in the movie, I also appreciated seeing the reviews posted by other Amazon customers! I wonder if any of the other cast members have checked out this area…
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I confess to liking the recent version far more than the remake, but that’s not surprising, I guess. I TRIED to retain an start mind when I saw the modern version, but, alas, I failed. My recollections of running from the burning jungle, coughing, onto the beach at the demolish makes a black-and-white rendition seem more steady to me.
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Michael Meyers