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>
During post-production in Paris, the director Peter Brook and editor Gerald Feil couldn't get the right effect for the sound of the dead pilot's parachute blowing in the wind. The book called for a 'plopping noise', and nothing seemed to sound right. Eventually Gerry found the perfect sound by slowing down a recording of his cat purring. See more »
When Simon leaves the shelters on the beach, he is shirtless. Yet when he watches Jack and the hunters kill the pig, he is wearing a clean, white shirt. Later when we see Simon again, he is shirtless once again. See more »
You and your blood, Jack Merridew! You and your hunting! We might've gone home!
We needed meat.
You didn't not to have let the fire go out!
[Jack slaps Piggy across the face making Piggy's glasses fall off]
[picks them up]
Here. Here they are.
[Piggy puts them on but realizes one of the lenses have cracked and missing pieces]
JUST YOU WAIT!
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The opening credits list the entire production crew but none of the actors. See more »
A film of classic cinematic imagery more relevant today
Peter Brook's rich film of Golding's "Lord of the Flies" is a stunning compilation of classic film imagery. Scenes surrealistic, beautiful and disturbing create a haunting atmosphere and a world of sights, sounds and ideas unlike any other
film. The choir marching on the beach in full dress singing that catchy "Kyrie Eleison", the first sight of Jack in his almost shocking warpaint, Piggy's comic- pathetic persona, the floating body of Simon in the ocean drifting off the screen as the sun-dappled water glistens, the look on Ralph's face at the very end of the film, his countenance stamped with fear, horror, relief and profound
sadness--all combine to form a mosaic of a classic contemporary fable. As the war in Vietnam was raging in the 60s and 70s, this film provided a distinct
commentary on the times. Seeing the film recently again, with its disturbing picture of irrational fear culminating in spectacular tragedy, "Lord of the Flies" seems almost more relevant today--and almost more tragic than before.
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