The Blue Lagoon (1923 film)

The Blue Lagoon
Movie still
Directed by	Dick Cruikshanks
Written by	Henry De Vere Stacpoole (novel)
Screenplay by	William Weston Bowden
Based on	The Blue Lagoon by Henry De Vere Stacpoole
Produced by	Dick Cruikshanks
Starring	Molly Adair Arthur Pusey
Production company	African Film Productions
Distributed by	International Variety and Theatrical Agency
Release date	5 February 1923 (1923-02-05) (South Africa)
Running time	6 reels 80 minutes
Countries	South Africa United Kingdom
Language	Silent (English intertitles)

The Blue Lagoon is a lost 1923 British-South African silent film adaptation of Henry De Vere Stacpoole's 1908 novel of the same name about children who come of age while stranded on a tropical island.^[1] It is the first screen adaptation of the story, and two additional adaptations appeared in 1949 and 1980, with both versions achieving commercial success.

Plot

Two young relatives, Dick Lestrange, a 10-year-old boy, and his cousin Emmeline Lestrange, an 8-year-old girl, become stranded on an uninhabited island after their ship catches fire. Paddy Button, their elderly servant, joins them and becomes their sole carer in their desperate situation. Paddy's love and devotion provide solace, but tragedy strikes when he discovers a hidden stash of rum and dies from alcohol poisoning, leaving the children to fend for themselves.

Dick and Emmeline begin to explore the unfamiliar world of sexuality that surrounds them as time passes on the island. A chance encounter piques their interest, leading them to explore their developing desires and emotions. They gradually form an intense and profound bond, and their relationship takes on a romantic tone. Their love eventually results in the birth of a child, cementing their unique bond on the island.

Arthur Lestrange, Emmeline's guardian and uncle, and Dick's biological father, abruptly disrupts their secluded existence when he discovers them after an exhaustive search. The children's unconventional way of life on the island clashes with the external influences and societal norms introduced by Arthur's arrival. Dick, Emmeline, and their child must navigate the complexities of their relationship, reconciling their isolated past with the new challenges and expectations imposed by Arthur and the outside world.

Cast

• Molly Adair as Emmeline Lestrange
• Arthur Pusey as Dick Lestrange
• Dick Cruikshanks as Paddy Button
• Doreen Wonfer as younger Emmeline
• Val Chard as younger Dick

Crew

• W. Bowden - Director of Photography

Production history

Development

According to a report from The Bioscope, a London-based publication on the film industry, in January 1919, African Film Productions (AFP) secured the filming rights to Henry De Vere Stacpoole's widely acclaimed novel The Blue Lagoon.^[2] AFP's head, I.W. Schlesinger, had paid a substantial sum for the rights, as the novel had been a commercial hit. Schlesinger had ambitious plans to make The Blue Lagoon AFP's next blockbuster, following their earlier successes with King Solomon's Mines (1918) and Allan Quatermain (1919), both based on novels by H. Rider Haggard. However, he knew careful preparation was crucial for the film's success. AFP needed a qualified team, perfect filming locations, and resources to maintain production standards to represent the story's exotic and beautiful setting. A careful screen adaptation of the novel would be needed, preserving its essence while making appropriate adjustments for the medium.^[3]

Keeping everything in mind, Schlesinger undertook the task of bringing The Blue Lagoon to the cinema. Although it would be a difficult challenge, he believed that it would be worthwhile if executed correctly. As per Film Renter, this type of tale must be portrayed on screen, but it was vital to locate the suitable location, actors, and producer.^[3]

AFP's production was delayed for almost three years due to conflicting rights issues between stage and cinema adaptations. Basil Dean, who produced a successful stage version of The Blue Lagoon in England, had hoped to turn it into his debut film. However, he first presented the play at the Prince of Wales Theatre in London from October 1920 to February 1921,^[4] followed by a provincial tour to Edinburgh.^[5][6][7] This sparked interest in the Glasgow Evening Times, as they questioned how the experience of "two youngsters" growing up in isolation on a South Sea island could be portrayed on stage. Dean went on to have a long and distinguished career in the British film industry.^[8]

Basil Dean announced his intention to create a film adaptation of The Blue Lagoon in January 1920 and predicted that it would be released in December of the same year.^[9][10] The casting of Madeline Robinson as the child Emmeline and Faith Celli as the adolescent Emmeline was announced in September, with the promise of a high-quality film.^[11][12] In his autobiography, Dean stated that The Blue Lagoon was always more suited as a motion picture than as a stage play and that the play's transfer to Broadway in 1921 was a failure.^[13] Consequently, the film's production was postponed following an exchange of messages with London.^[14] Stacpoole himself had doubts about the suitability of the stage for his story, arguing that motion pictures were better able to capture the natural world depicted in the novel and that the stage play lacked the emotional and comedic depth that was possible through expression and movement.^[15]The Motion Picture Studio reported on its 9 July 1921 issue that Gertrude McCoy was set to star as Emmeline.^[16]

William Weston Bowden carefully edited the script for the film, which was adapted from Stacpoole's original story about two young people who grow up without knowledge of human concepts like birth, death, and marriage. The success of the movie was dependent on the performances of two child actors and two young adult actors who portrayed the cousins, Dick and Emmeline.^[17]

Casting

The directors chose two young South African actors, Val Chard and Doreen Wonfor, to portray Dick and Emmeline as children. At first, it was thought that Dick's character would be the main focus of the narrative. But as the story developed, it became clear that Emmeline had a larger overall impact, partly because of her love for Dick, which she had had since the age of eight. Her affection for him eventually caused her to become pregnant and give birth to a child. It was acknowledged that the girl's young age made the role difficult.^[18]

Molly Adair was only 17 years old when she was cast as the grown-up Emmeline, which was a significant accomplishment for her, demonstrating her outstanding acting skills at such a young age. Her remarkable talent and fierce dedication to her career facilitated her securing this highly coveted role. Although she was still only a teenager, Adair's precociousness and flexibility as an actress were already apparent in her seven previous film appearances. She starred in Stella (1921), a cinematic adaptation of H. Rider Haggard's novel Stella Fregelius, costarred with Clive Brook in Married to a Mormon (1922); and played the lead role in the film adaptation of Compton Mackenzie's Sinister Street (1922).^[19][20] Adair was highly admired for her poised and graceful demeanour, making her highly sought-after. She possessed what many believed to be the most critical attributes of a successful actress: a beautiful face, a resilient character, and a readiness to embark on adventurous journeys at any given moment.^[21]

The role of Dick was given to Arthur Pusey, a seasoned actor who had already established a reputation for himself in the field of entertainment. He worked with Sibyl Thorndyke in London's West End. In addition to his success in the theatre, he has also made appearances in several films. His roles alongside Clive Brook in films such as The Bachelor's Club (1921), The Barton Mystery (1920), The Lonely Lady of Grosvenor Square (1922), and Stable Companions (1922) are among his film credits.

Filming

In May 1922, it was reported that Molly Adair and Arthur Pusey had departed for Johannesburg on the S.S. Kinfauns Castle. According to contemporary reports, the primary locations for the film's shooting would most likely be in a tropical area close to South or West Africa, potentially the coral-reefed coast of Mauritius or the Seychelles.^{[22][23][24][25][26]} In July 1922, it was reported that a small group of around fifteen people were working hard on the East African Coast near Pemba, a place with many Arabic legends.^[27] Later, it was confirmed that a whole colony of workers had camped on a desert island off the coast of Portuguese East Africa near Porto Amélia (Pemba) for four months with the producer and his team.^[19][28] The company had chartered the "tiny island," which was part of the Quirimbas Islands chain off the northern coast of Mozambique.^[29]

Dick Cruikshanks was in charge of managing the actors, while Bowden's responsibility was overseeing the camera and crew. However, Cruikshanks encountered challenges persuading the child actors to focus on their work and not spend all their time playing around the island, as they needed to work with the sun and cameras.^[30]

In Johannesburg, a huge statue of a man was constructed for the movie. It was made of stone, stood at a height of 50 feet, and had a frightening face with massive stone hands. The statue was meant to symbolise a barbaric and aggressive deity. ^[31][32] However, the South African Review criticised the statue, saying that compared to the millions of people who were sacrificed to the "Money Gods" of "Civilization" during the war, this small-scale depiction of savagery was insignificant.^[33]

In late November 1922, it was reported that The Blue Lagoon was nearing completion. Promotional photographs showcasing the movie were dispatched to England, creating anticipation among the audience.^[34] Following the completion of filming for The Blue Lagoon, the production quickly moved on to The Reef of Stars, a motion picture based on another story by Stacpoole.^[35] Notably, this film also featured Molly Adair in a prominent role.

In its issue dated 1 February 1923, The Bioscope announced that the International Variety and Theatrical Agency (IVTA) had just received the film negative of The Blue Lagoon from African Film Productions. It was stated that work was underway for trade shows. The film was lauded as a new and captivating form of screen entertainment, particularly the sections featuring the tropical island and lagoon. The film’s popularity was expected to attract audiences at all screenings. It was noted that no studio-built settings were used, maintaining authenticity as all outdoor scenes were filmed on a small equatorial islet.^[36]

During filming, Molly Adair met Arthur James Siggins, a New Zealand-born policeman. They fell in love and got married.^[19] Molly then decided to give up her film career and accompany her husband on his numerous expeditions, which included long journeys across the country.^[37] Their daughter, Jillian, who later changed her name to Jill Adams after getting married in 1951, became a well-known model and actress, often referred to as "Britain's Marilyn Monroe."^[38][39][40]

Release

The Blue Lagoon was released at the Bijou cinema in Johannesburg on 5 February 1923.^[41] It was originally planned to be shown for just three days; however, due to its immense popularity, the Bijou decided to extend the screening to six days. This decision not only attracted huge crowds but also generated a lot of excitement among viewers.

On 27 February 1923, the London trade show took place. Schlesinger was present at the event^[43] and observed that nobody left during the film screening, proving its high entertainment value.^[44] Stacpoole praised the film’s acting, scenery, and management of native crowds during a post-show luncheon. He enjoyed the romantic scenes but declined the idea of a sequel that would bring Emmeline and Dick back to civilization. Stacpoole believed that leaving them on the tropical island was the right choice.^[45] F.W. Kilner, who had exclusive distribution rights for the Midlands, criticised the film's modest promotion but praised it as an outstanding British production.^[46]

The regional trade shows of The Blue Lagoon commenced on 6 March 1923, taking place at Manchester's Theatre Royal and proceeding to various English cities, including Cardiff and Glasgow. The series of shows concluded on 11 April at Dublin's La Scala Theatre. Subsequently, on 8 October 1923, The Blue Lagoon was released in eight cinemas across London.

Although precise box office data are unavailable for evaluating the movie's financial performance, it is apparent that the movie failed to generate adequate income to persuade AFP to produce other feature films.^[47][48] Thelma Gutsche wrote:

The Blue Lagoon marked the swansong of local fiction film production. Released in the [South African] Union in February 1923, the film (most of which had been filmed on the Natal and Portuguese East African coast) was very favourably received. It was also successful on the overseas market; but, despite the contemporary odium of American films and attempts to sponsor British and Commonwealth production, it was obvious that South Africa’s best efforts were not assured of a payable return. Thereafter fiction film production had perforce to be abandoned.

— Thelma Gutsche^[49]

Reception

Critics had a positive response to the film overall. Kinematograph Weekly praised the faithfulness with which it captured the captivating ambience of the original novel. An outstanding feature of the motion picture was the meticulous curation of child actors, whose remarkable abilities contributed to the film's verisimilitude. The lead actor, Val Chard, was also acknowledged for his captivating and authentic portrayal. Although the picture saw a decline in initial appeal due to the ageing of the child actors, Kinematograph Weekly still praised it for its ability to reignite a sense of enchantment as the narrative unfolded. The magazine also commended the film's portrayal of sexual awakening, noting that it contributed to the narrative's intricacy and engaged the audience.^[50]

The Rand Daily Mail reviewed it as an improvement over the novel and stage production due to the actual tropical scenes captured on the screen.^[51] The Johannesburg Sunday Times appreciated the natural acting, particularly in scenes with the two children and Paddy Button on the coral island, and the attention given to the casting of small roles, such as the whaler's captain and crew, who looked like real seamen.^[52]

The South African Pictorial reviewer spoke highly of the production quality, story narration, and particularly the acting, with directors William Weston Bowden and Dick Cruikshanks receiving special praise. Casting decisions were also applauded, with the younger versions of the lead characters closely resembling their older counterparts. The review did point out a subtitle that seemed to invite misplaced humour and acknowledged the original story's implausibilities, but concluded that these did not detract from the film's overall quality.^[41]

The Bioscope magazine gave high praise to the main actors of the movie, Molly Adair and Arthur Pusey, for their commendable ability to avoid theatricality in their portrayals. The two actors were appreciated for their authentic depiction of emotions and behaviour, which was especially noticeable in the captivating moments set on the island. The young actors in the film were also recognised for their natural and unscripted gestures, which added to the overall credibility of the cinematic production. Additionally, the extras who played the savage characters were praised for their skilled performances, particularly during the evocative dance sequence surrounding the antique idol, which contributed to the unsettling atmosphere of the scene. Although The Bioscope found the ending to be contrived, they admired the mystical setting of an actual desolate island.^[53]

Ernest W. Fredman, editor of the Film Renter and Moving Picture News, praised the film for its captivating performance and the superior success it achieved compared to the original novel and its theatrical version. Particularly commending the cast, including Arthur Pusey, Molly Adair, Dick Cruikshanks, and two natural child actors, he found every scene filled with interest and emotion. Fredman applauded the careful attention to detail in the production, the emotive scenes, and the beautiful location, all contributing to the film's charm, simplicity, and anticipated popularity. He also singled out the scene of Emmeline giving birth as remarkably delicate and noteworthy. He lauded the film, a touching narrative about two castaway children falling in love on a deserted island, for its well-executed portrayal.^[54]

The movie received high praise from the London press for its accurate portrayal of intense emotions in unusual settings. Critics predicted that the movie would surpass the achievements of the original book and theatrical adaptation. The film was also commended for its use of authentic natural settings and subtle performances. One reviewer noted the film's uniqueness due to its reliance on natural locations instead of artificial studio techniques.

G.A. Atkinson, a reviewer for the Daily Express, was extremely impressed with the film. Atkinson experienced discomfort when near buildings, but this discomfort vanished as soon as he saw the breathtaking images of the movie's silver beaches, palm-lined lagoons, tropical sunrises, and moonlit nights. He wrote that the film includes exciting scenes such as a fire at sea, a shipwreck, a fight with an octopus, a confrontation with cannibals, and a tropical storm, and alongside these scenes, the movie portrays one of the most beautiful love stories ever told with tasteful and charming interpretation.^[55]

The Daily Mail found fault only with Pusey's hair, which they described as "beautifully waved," given that he had supposedly lived on a desert island for seven to ten years. However, they found the film to be fresh and original.^[56] Other critics were annoyed with the makeup used on the cast. The Daily News and Leader criticised the young castaways for having "white skins" and well-groomed hair after living almost naked for so long.^[57] Jympson Harman from the London Evening News also commented on Pusey's hair, suggesting that it should have been more dishevelled. He added that the movie was faithful to the book but could be slow at times.^[58]

The Evening Standard critic pointed out that the movie overlooked certain anachronisms in its attention to detail, such as Arthur Pusey's impeccably groomed appearance, which went unnoticed by everyone. However, the film effectively captured the genuine atmosphere of the popular novel by employing straightforward acting and photography on an actual desert island. Additionally, the critic commended the film for preserving the delicate, poetic charm of the original novel while incorporating realistic and thrilling scenes that would make any American director proud.^[59] Alder Anderson from the Daily Telegraph stated that everyone who attended the private screening agreed that the movie was one of the best British films made by any production company. He also praised the movie for combining poetic charm with realistic and thrilling scenes that would impress any American director. This critic was also championing German imports like Dr. Mabuse and The Golem as "impressionism" or expressionism, which he preferred over the "realism" of Anglo-American cinema at the time.^[60][61]

Reynold's News praised Bowden and Cruikshanks for doing an excellent job of keeping "the spirit of the story" in their film adaptation, although they found some captions at the end to be "rather absurd."^[62] Lloyd's Sunday News also praised the film, stating that it retained "the beauty and simplicity of the original story" by using child actors Doreen Worfor and Val Chard, who performed their roles with refreshing naivety.^[63]

Films happily expressed how a movie adaptation beautifully and delicately portrayed a couple's love, marriage, and baby, similar to the original book. They praised the directors for effectively using the children's emotions to convey the story. Val Chard, who played the boy, and Doreen Wonfor, who played the girl, received praise for their natural acting and for showcasing the male's strong instincts and the girl's gentle and reflective nature subtly and believably, without being aware of the camera.^[64]

The Glasgow Herald's London correspondent reflected on how The Blue Lagoon introduced Freudian psychology to movies. The author emphasised how the worship of a stone idol had an impact on the two young characters and how this caused them to explore their sexuality. However, the Herald cautioned against going too far with this emotional trend.^[65]

The film was heralded by The Sketch as "one of the most delightful pictures ever 'shot.'" The review further lauded the movie for its faithful representation of the book's narrative, a credit to the meticulous efforts of African Film Productions. The film's visuals were a particular point of praise. The Sketch review highlighted the "quite beautiful" scenery and setting, a testament to the painstaking efforts of the production team to shoot on a tropical island. Despite the considerable expense and logistical challenges this decision undoubtedly presented, the review asserted that the outcome was well worth it. The performances of the lead actors, Molly Adair and Arthur Pusey, were also singled out for commendation. The review described them as "admirable" in their portrayals of the characters Dick and Emmeline, suggesting that their performances contributed significantly to the film's overall success.^[66]

After being previewed at Manchester's Piccadilly Picture Theatre and Café, The Blue Lagoon received a fanciful introduction from the critic of The Manchester Guardian. The critic eloquently portrayed the film's captivating allure, beginning with a mesmerising opening scene—a serene and noiseless voyage through a vibrant coral reef, leading into a breathtakingly beautiful lagoon. To add to its charm, the critic remarked on the enchanting musical accompaniment that perfectly complemented the visuals and intensified the film's appeal.^[67]

The Weekly Dispatch praised the film as a delightful escape from the unpleasant October weather. It commended African Film Productions as the only film company in the British colonies that regularly contributed to English cinema programmes.^[68] The People recommended the film as a good example of how a subject can be treated delicately and with restraint, and they praised its innocence and charm.^[69]

E.G. Kendrew, the London correspondent of Variety, lauded the film as a masterpiece created by a British film company, commending its fidelity to the novel and highlighting the exceptional acting. Kendrew expressed admiration for the adeptness with which the adapter navigated the subject matter, particularly in scenes that carried the possibility of explicit content. This commendation underscores the film's tactful treatment, despite the narrative challenges and the near-total nudity of the primary characters. Furthermore, Kendrew lauded the film's realism in its portrayal of shipboard and fire sequences, its depiction of the picturesque tropical island backdrop, and its convincingly executed depiction of an octopus fight. Kendrew noted that the film marked a significant milestone in British photoplay art, highlighting its contribution to the cinematic evolution of the era.^[70]

The China Mail's review praised the film for departing from conventional studio-built settings. The review highlighted the authenticity of the outdoor scenes, as it was filmed on an uninhabited tropical island, closely aligning with the author's vision. The China Mail praised the cast and crew, who embraced the "simple life" during their six-month stay, significantly contributing to the film's naturalness, and emphasised its entertainment and pictorial qualities, especially scenes set on the tropical island and lagoon.^[71]

The movie received high praise from the Singapore Free Press, highlighting the film's fidelity to the source material, with minimal deviations in the ending, showcasing a commitment to the original narrative. A commendation was also given to African Film Productions for its outstanding production quality, described as a "triumph of marvellous photography and scenic effect." The cast, particularly child actors Doreen Wonfor and Val Chard, was lauded for delivering what was deemed the best performances before the camera. The seamless transition to Molly Adair and Arthur Pusey as the characters aged was described as "masterly in its naturalness and charm."^[72]

The review for the Malaya Tribune conveyed a predominantly positive sentiment, characterizing the movie as a "very beautiful picturisation" that faithfully interpreted the original novel. The reviewer commended the film to readers, praising its vivid portrayal and appropriate settings. Despite a minor deviation at the end involving the castaways' guardian, the reviewer assured that it did not diminish the overall interest in the story. The comprehensive coverage suggested prior detailed analysis, and the concluding statement emphatically encouraged readers to watch, labelling the film as a "really superb photo-drama."^[73]

The Straits Times praised the movie for its faithfulness to the source material and its convincing depiction of the setting on the desert island. A notable departure from American films of the time was emphasised, with the British production being described as "absolutely innocuous" due to its lack of intense scenes involving battles, murder, or sudden death. The actors were commended for bringing a refreshing departure from stereotyped heroes and heroines found in American cinema. Dick Cruikshanks' portrayal of the cheery and bibulous Irish character, Paddy, was praised for its perfection. The absence of startling scenes was underscored as a distinctive feature, contributing to the film's overall serene and calming atmosphere. The recommendation for those with bad nerves to view the film as a form of "rest cure by proxy" underscored the movie's appeal by providing a sense of utter freedom and peace.^[74]

The movie received a positive review from The Daily Telegraph in Sydney, Australia. The reviewer commended the film for its original plot, noting its uniqueness and deviation from conventional storylines. Praise was given to the movie's excellent sequence of exciting scenes, coupled with a visually stunning setting, indicating a focus on engaging cinematography. The overall tone of the review suggested that the movie successfully combined elements of romance with adventure, presenting a charming and fascinating narrative that captivated audiences with its visual appeal and exploration of themes related to nature and simplicity.^[75]

In a 1927 review for The Australasian, the film was evaluated positively despite its unconventional production approach by an African company, lacking elaborate studios and expensive effects. Drawing parallels with successful American independent films, the review noted the film's satisfaction in providing better entertainment than many costly productions. The joyous sequences on a desert island, particularly appealing to children, and the effective handling of later scenes, including an unexpected ending, received praise. The discreet approach of Hoyt's Theatre in showcasing occasional non-American films was also highlighted, contributing to an overall positive assessment of the film's storytelling and entertainment value.^[76]

The Times praised the film as an excellent and faithful rendition of the book, with most scenes shot in stunning outdoor settings of a tropical island, whose beauty was well worth the effort taken to capture.^[77] A year later, the same newspaper's British Empire Section praised it again, citing the use of British actors and picturesque outdoor scenery as key factors in its remarkable success.^[78]

Preservation status

Because no copies have survived, The Blue Lagoon is considered a lost movie. The last surviving print, acquired by Herbert Wilcox in 1929 to remake it,^[79][80] was unfortunately consumed by a fire at the British and Dominions Imperial Studios on 9 February 1936.^[81]

See also

• The Blue Lagoon, 1949 version
• The Blue Lagoon, 1980 version
• Blue Lagoon: The Awakening, a Lifetime television movie
• Friends
• Paradise
• Return to the Blue Lagoon, 1991 version
• Paul and Virginia
• State of nature

References

Citations

• Dean, Basil (1970). Seven ages: an autobiography, 1888-1927. London: Hutchinson. ISBN 0091042402. Retrieved 4 August 2023.
• Parsons, Neil (2018). Black and white bioscope: making movies in Africa, 1899 to 1925. Bristol, UK: Intellect Books. ISBN 9781485309550.

External links

• The Blue Lagoon at IMDb

This page was last edited on 28 March 2024, at 12:49