Civilization Is a Fragile Thing in Jack Thorne’s Brilliantly Cast Adaptation of William Golding’s ‘Lord of the Flies’

Alci Rengifo

William Golding’s classic 1954 novel “Lord of the Flies” is one of those works that, like George Orwell’s “1984,” continues to find renewed relevance. Its themes of survival amid chaos, distribution of power and the fragility of civilization make just as much sense today, if not more sense. No surprise that Jack Thorne has decided to do a new adaptation. Thorne’s “Lord of the Flies” arrives on Netflix after airing across the pond for the BBC as a respectable take, surprising in its restraint. If you have read the book a lot of it is here verbatim, if you haven’t then this might serve as an introduction which will inspire curiosity in other versions. Its most striking features are the impressive young cast and a locale that functions as its own character.

First we meet Piggy (David McKenna), a plump lad with glasses who awakens on a tropical island, clearly having survived something intense. As he wanders through the jungle, coming across rotted animals and, yes, flies, there are also pieces of plane wreckage. Soon enough, he comes across Ralph (Winston Sawyers), another young survivor of the apparent plane crash. When they make their way to the shore, other survivors are scattered around. Then, in their uniforms and attempting to look regal, a boys’ choir led by Jack (Lox Pratt) appear. It turns out everyone was part of a crew of British schoolboys riding the same plane. The adults are all dead, as evidenced by the dead pilot found still strapped to his seat. Piggy is the first to try and start organizing everyone into some kind of functioning operation so they can survive. Inevitably, questions of leadership arise with voting making Ralph the first “chief” of this marooned tribe. Don’t count on these kids to sustain their sense of order for long however.

Having gained renown for his series “Adolescence,” about the violent effects of toxic masculinity on boys, it makes perfect sense for Thorne to be attracted to Golding’s novel. What is more surprising is how timid he feels to get edgier with the material. The story has been adapted before, most famously in 1963 by Peter Weir and in 1990 by Harry Hook. Thorne’s version at times lets the aesthetic take over. Director Marc Munden successfully turns the tropical location into an imposing entity where mountains feel like they rise forever and thunderstorms rumble in the distance. The environment has a real sense of dread especially because the cast look so young and small when standing before it. Because the story fits quite nicely in a feature film, the show likes to linger on the terrain with the feeling of needing to fill in some time gaps for what amounts to a four-part series. 

The dialogue can also get curiously sparse, though what is included is very effective. These young actors are incredibly talented and each one gives their role a unique persona. Students of the book know the symbolism well. David McKenna is the best of the lot as Piggy, who represents the intellectual trying to bring some sense and reason to the group. The other kids, especially Jack’s crowd of cocky choir boys, tend to mock Piggy’s demands that everyone follow some sensible guidelines. He also stresses the need to care for the “littleuns,” meaning the youngest boys of the group. Who has time to figure out waste disposal when you can swing into a glorious lake? Ralph is the weakling who gets voted into high office but is easily pushed around by the domineering Jack. The latter loves to boast of his prowess as a brave hunter, while hiding his own insecurities, like most bullies. Those classic features of the tale, like the boar hunt and fearing a mysterious “beast” the younger children insist prowls the jungle are all here, told with a straightforward style. 

It would have been very interesting if Thorne had decided to update the story for the present day. By keeping it in the ‘50s, the material can still pretend these children have the sort of vocabulary or education which brings out lines like, “He has an enviable facility.” Imagine a group of young lads, even from a prestigious boarding school, raised in an age of iPhones, ChatGPT and Google maps crashing on that island and losing all of the digital aid we now take for granted. Still, “Lord of the Flies” is timeless because of its primal truths. Soon the boys break into separate tribes. Others get a taste for blood in a place where no one else is around to impose order. In childhood we are at our purest form, operating almost on pure sensation. This series evokes that well with actors who give off intelligence that becomes feral by the last, tragic episode. Leave us to our own devices and we are a menace at any age, just look at the White House.

“Lord of the Flies” begins streaming May 4 on Netflix.