Jack Thorne’s ‘Lord of the Flies’ is a timely, engrossing miniseries true to novel

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Jack Thorne, known for co-writing the award-winning “Adolescence,” is back with a compelling new adaptation of William Golding’s classic novel, “Lord of the Flies,” which tells the story of boys stranded on an island. It’s a powerful and engaging story about a difficult childhood – and just to clarify, this is different from the “Lord of the Rings” series, a mistake I almost made!

As a lifelong movie fan, I’ve always found the origins of Lord of the Flies fascinating. The book, published in ’54, definitely feels shadowed by the Cold War – there are little hints, like a mention of an atom bomb and the term ‘the Reds’, and even a quick flash of an old-fashioned animated atom in the opening credits of the recent series. The story kicks off with a group of British schoolboys, aged between six and twelve, being flown somewhere – it’s never really explained where! – when their plane crashes on a deserted island. And get this – the airline is called Corinthian Air, which feels like a deliberate detail, doesn’t it?

I still remember being deeply affected by Peter Brook’s 1961 film of this story – it even showed up on American TV when I was young! There have been a few other adaptations over the years, including one from the Philippines in 1975 and a rather straightforward American version in 1990. But even after watching this new series, which premieres Monday on Netflix, Brook’s black and white film still feels like the definitive version. This new take is definitely more streamlined, and a lot of the dialogue feels fresh because it was largely improvised, but Brook’s version remains powerfully etched in my memory.

The story centers around four boys: Ralph (played by Winston Sawyers), Piggy (David McKenna), Jack (Lox Pratt), and Simon (Ike Talbut). Each boy gets a dedicated episode – these are four-part shows, mirroring the book’s timeline and shifting perspectives. Ralph is portrayed as kind and level-headed, on the verge of adulthood. Piggy, overweight, wears glasses, and has asthma, representing intelligence that’s often ridiculed. Jack quickly becomes Ralph’s rival, showing early signs of becoming a controlling leader, and he arrives with a group of choirboys under his command. Simon, who hints at a medical condition similar to epilepsy in the novel, is the story’s most sensitive and spiritual character – and we see him posed in a way that suggests a crucifixion.

It’s tricky to even consider something a spoiler when it comes to a story that’s been around for 75 years and is often read in high school. So, I won’t reveal anything about what happens to the characters or the group, just in case anyone still wants to enjoy the story’s intriguing and somewhat unsettling plot.

As a fan of the book, I honestly think this version of ‘Lord of the Flies’ gets it right more often than the older movie did. They’ve actually used a lot of the original dialogue from Golding, and all the important moments are there. The director did add some extra scenes, sometimes to really emphasize a point or to show us the boys’ vulnerabilities – reminding us they’re just scared kids under all the tough talk and face paint. It’s interesting how they introduced things like suitcases filled with useful items. They also cleverly added backstory, explaining things about characters like Simon and Jack – it reminded me of ‘A Christmas Carol,’ showing how their parents were cold and, in some cases, even abusive, which really shaped who they were.

The character known as Piggy is eventually given the first name Nicholas, though this isn’t revealed until later in the series. While Ralph is the main character, Piggy – portrayed with depth by McKenna – feels like the true heart of the story, and the adaptation expands his role significantly. He’s the one focused on practical matters like clean water, and in this version, he comforts the younger boys by telling stories, including the classic tale of “Chicken Licken” (also known as “Chicken Little”). He even sings a song by Groucho Marx (“Hooray for Captain Spaulding”) while exploring the jungle, revealing a surprisingly sophisticated side. More references to Groucho Marx will appear later in a more impactful way.

Director Marc Munden clearly has artistic ambitions with this film, and while that’s understandable, it sometimes feels overly stylized. The movie alternates between bursts of action and deliberately slow moments, which, realistically, might reflect the monotony of being stranded on a desert island. The film emphasizes the island’s gritty details – crabs, birds, insects, decaying fruit and even flesh – captured in close-up by the cinematographer. We also see intimate, slightly wide-angle portraits of the boys, often staring directly at the camera. One particularly unsettling scene focuses for an extended time on the face of a young, manipulative character as he playfully torments two smaller children with pebbles.

The colors in the show are incredibly vivid – whether through special effects or because the setting itself is so intense is hard to say. The lush forest greens sometimes shift to red, visually representing characters’ altered states and hallucinations. The music, composed by Cristobal Tapia de Veer (known for “The White Lotus”), is a sophisticated, modern classical score – a departure from typical TV show soundtracks. While it occasionally feels a bit obvious, this dramatic approach fits the story well. Most impressively, the director and team skillfully guided performances from a large cast of children, often very young, despite what must have been difficult filming conditions.

Golding described hunting as a world of excitement, strategy, and skill, contrasting it with a world of frustration and practicality. This is reflected in the boys’ struggle between the hard work of building a society – Ralph’s desire to be a good leader and maintain a functioning camp – and the temptation to follow a dominant, rule-breaking bully. Whether you see the story as an exploration of how young people think or as a still-relevant commentary on human nature – those who focus on rescue versus those driven by violence – it’s ultimately a bleak story.

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2026-05-04 10:31