The Blue Lagoon (1923 film)
The Blue Lagoon is a 1923 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. It is the first screen adaptation of the story, and two additional adaptations appeared in 1949 and 1980. 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. 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. To adequately capture the sense of the story's exotic and romantic environment, AFP needed to gather a team of skilled individuals, obtain ideal filming locations, and commit resources towards maintaining outstanding production standards. Furthermore, a painstaking adaptation of the novel for the screen would be required, maintaining the essence of the original work while including necessary changes to match the visual medium. 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 required to be portrayed on screen, but it was vital to locate the suitable location, actors, and producer. 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, followed by a provincial tour to Edinburgh. 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. 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. 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. 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. Consequently, the film's production was postponed following an exchange of messages with London. 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. The Motion Picture Studio reported on its 9 July 1921 issue that Gertrude McCoy was set to star as Emmeline. William Weston Bowden carefully edited the script for the AFP 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. Casting 
The filmmakers chose two young South African actors, Val Chard and Doreen Wonfor, to portray Dick and Emmeline as children in the movie. At first, it was thought that Dick's character would be the main focus of the story, but as the plot developed, it became clear that Emmeline played a more significant role overall, primarily due to her love for Dick, which started when she was only eight years old. Eventually, her love for him resulted in her getting pregnant and giving birth to a child. It was recognised that the part of the girl was challenging because of her young age at the beginning of the film. 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). Adair garnered significant admiration for her inherent composure and elegance, rendering her a highly coveted figure within the realm of acting. She had what many people thought were the most important traits of a successful actress: an attractive face, a heart that wouldn't break easily, and a willingness to go on wild adventures at any time. The combination of her remarkable acting skills, along with her poised demeanour and adventurous nature, rendered her a valuable asset in the British film business. 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. 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. 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. The company had chartered the "tiny island," which was part of the Quirimbas Islands chain off the northern coast of Mozambique. 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. A large statue of a man made of stone was built in Johannesburg for the movie. The statue was about 50 feet tall and had a scary face and huge stone hands. It was meant to represent a savage and violent idol. 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. 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. 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. Notably, this film also featured Molly Adair in a prominent role. During filming, Molly Adair met Arthur James Siggins, a New Zealand-born policeman. They fell in love and got married. Molly then decided to give up her film career and accompany her husband on his numerous expeditions, which included long journeys across the country. 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." Release 
The Blue Lagoon was originally scheduled to perform for three days in February 1923, but the Bijou cinema in Johannesburg extended the run to a spellbinding six days to enthral its audience. This decision not only garnered large crowds but also sparked a great deal of anticipation among viewers. On 27 February 1923, the London trade show took place. Schlesinger was present at the event and observed that nobody left during the film screening, proving its high entertainment value. Stacpoole, who was extremely pleased with the film's production, praised the acting and scenery. In his opinion, cinema is the perfect medium for romantic fiction. During the post-show luncheon, Stacpoole delivered a speech filled with admiration for the film's acting, scenery, and management of the native crowds. He particularly appreciated the love scenes, considering them the best he had ever seen. Stacpoole refused to write a sequel that would bring Emmeline and Dick back to civilization, believing that leaving them on the tropical island they had come to consider their world was the right thing to do. 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. 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 saw its release 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. Thelma Gutsche wrote:

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. 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. 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. The Bioscope praised the principal actors of the movie, Molly Adair and Arthur Pusey, for their commendable ability to avoid theatricality in their portrayals. The individuals received praise for their authentic depiction of emotions and behaviour, which was particularly notable in the enthralling moments set on the island. The young actors in the film were additionally acknowledged for their innate and unscripted gestures, thereby enhancing the overall veracity of the cinematic production. The extras who portrayed the savage characters were also commended for their adept performance, particularly during the evocatively authentic dance sequence surrounding the antique idol, thereby contributing to the unsettling ambience of the scenario. While The Bioscope deemed the ending to be contrived, they admired the mystical setting of a genuine desolate island. The film received acclaim from the London press for its authentic portrayal of intense emotions in unfamiliar settings, with predictions that it would surpass the achievements of the original book and theatrical adaptation. The utilisation of authentic natural settings and restrained performances in the film were also highly praised. One critic saw the film as unusual due to its reliance on natural locations rather than 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. 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. 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. 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. 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. 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. 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." 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. The Bioscope remarked that it is rare for a film to receive such unanimous praise from the entire press. Films happily expressed how a movie adaptation beautifully and delicately portrayed the love, marriage, and baby of a couple, 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. Ernest W. Fredman, the editor of the Manchester Film Renter, expressed his great delight in watching the film on screen, praising the wonderful cast, including two charming and natural child actors. He remarked that the film is filled with interest and emotion in every scene, and it is evident that a lot of care and attention has been put into it, and the scene where Emmeline gives birth to a baby is particularly delicate and praiseworthy. 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. 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. The Weekly Dispatch praised the film as a delightful escape from the unpleasant October weather and commended African Film Productions for being the only film company in the British colonies that regularly contributed to English cinema programmes. 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. 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 original novel and highlighting the exceptional acting, notably the performances of Molly Adair and Arthur Pusey, along with Dick Cruickshanks' portrayal of Paddy Button. 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. The British Empire Section of The Times praised The Blue Lagoon a year after its release, citing the use of British actors and picturesque outdoor scenery as key factors in its remarkable success. Preservation status 

Due to the absence of any extant copies, The Blue Lagoon is presently regarded as a lost film. The last surviving print, acquired by Herbert Wilcox in 1929 to remake it, was unfortunately consumed by a fire at the British and Dominions Imperial Studios on 9 February 1936. 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
 State of nature

References

Citations

External links
 

1923 films
Films based on British novels
Films set on uninhabited islands
British silent feature films
British black-and-white films
Films about children
British coming-of-age films
1923 drama films
1923 lost films
1920s teen films
Juvenile sexuality in films
1920s British films
Films based on The Blue Lagoon (novel)
Lost British films