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.

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.

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.

AFP needed a qualified team, perfect filming locations, and resources to maintain production standards to represent the story's exotic and beautiful setting.

[8] William Weston Bowden carefully edited the script for the film, adapted from Stacpoole's original story about two young people who grow up without knowledge of human concepts like birth, death, and marriage.

[5][11] The role of Dick was given to Arthur Pusey, a seasoned actor who worked with Sibyl Thorndyke in London's West End and also made appearances in several films such as The Bachelor's Club (1921), The Barton Mystery (1920), The Lonely Lady of Grosvenor Square (1922), and Stable Companions (1922).

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.

[12][13][14][15][16][5] 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.

[17] 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.

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.

[29] 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.

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.

Kinematograph Weekly praised the film for its ability to rekindle a feeling of magic as the story progressed, even if the ageing of the child actors caused the initial appeal to drop and commended the accuracy with which it caught the mesmerising atmosphere of the original book.

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 minor roles, such as the whaler's captain and crew, who looked like actual seamen.

[5] 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.

Additionally, the extras who played the primitive characters were commended for their skilful acting, notably during the moving dance sequence around the ancient idol that heightened the scene's mysterious atmosphere.

He especially praised the cast, including Arthur Pusey, Molly Adair, Dick Cruikshanks, and two genuine child actors, noting that each scene was brimming with interest and emotion.

Fredman celebrated the meticulous attention to detail in the production, the poignant scenes, and the picturesque setting, all of which contributed to the film's allure, simplicity, and expected popularity.

Although Atkinson often felt uneasy near buildings, this sensation disappeared upon viewing the film's stunning depictions of silver beaches, palm-fringed lagoons, tropical dawns, and moonlit evenings.

He noted that the film features thrilling moments like a maritime blaze, a shipwreck, an octopus battle, an encounter with cannibals, and a tropical tempest, all while weaving one of the most enchanting love stories ever depicted, rendered with elegance and charm.

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.

[5] 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.

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.

[5] The trade journal Films happily expressed how a movie adaptation beautifully and delicately portrayed a couple's love, marriage, and baby, similar to the original book.

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.

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 on the tropical island and lagoon.

[45] 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, and commending it for its outstanding production quality, described as a "triumph of marvellous photography and scenic effect."

"[46] The review for the Malaya Tribune conveyed a predominantly positive sentiment, characterising the movie as a "very beautiful picturisation" that faithfully interpreted the original novel.

The film's lack of intense scenes and recommendation as a form of "rest cure by proxy" made it appealing to those seeking a sense of freedom and peace.

[50] 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 worth the effort to capture.