Motín a bordo

With three fine leading performances, lavish settings and scenery, and an engrossing story, the 1935 version of "Mutiny on the Bounty" is certainly the best cinema version of the familiar story, whether or not it is historically accurate. The 1962 version had some quality aspects, but it seemed to suffer from some odd casting and from over-extending itself. The revisionist 80's version made claims to being more historically accurate than the others, which may or may not be the case, and it was interesting for Anthony Hopkins's distinctive portrayal of Captain Bligh, but it was otherwise an unremarkable and not especially creative film.

The trio of Charles Laughton, Clark Gable, and Franchot Tone set a standard that none of the rest could come close to equaling. Laughton is perfect as Bligh, or at least as the kind of captain that Bligh is/was commonly assumed to have been. Gable does very well in adapting Fletcher Christian just enough to fit his own strengths - Gable is not quite what you expect of a British naval officer, but if he had tried to force himself into that mold, it probably would have been rather unconvincing. In themselves, Gable's charisma, decisiveness, and energetic personality seem just right for Christian. Tone also fits smoothly into the role of Byam, giving it the right combination of earnestness and restraint.

Their performances are set off nicely by the carefully detailed and interesting settings, and by a supporting cast that gets its share of good moments. The historical truths of the Bounty incident can be fairly debated, since it's unlikely that anyone now knows the inside story. But setting aside those questions, and purely as a movie, it would be hard to argue the virtues of this version of the story.

By 1935 the worst years of the depression were over, the pitfalls of the early talkies had been overcome, and Hollywood was starting to regain its confidence. For the first time in several years pictures were being made as big and bold as they had been in the late silent era. And like the flagship of this new era comes this highly fictionalised account of the Bounty mutineers.

Although this is very much a Hollywood production, it may seem a little strange to see that all-American lead idol Clark Gable playing an Englishman. This being the days before such things really mattered, and Gable not really being one to shift his persona too much, he makes no attempt whatsoever at an English accent. And yet he fits in very well. Gable always carried with him a touch of the theatre where he cut his teeth, and proves himself a powerful counterpoint to the blustering Charles Laughton. With his barrel chest, wavy hair and easygoing swagger he does have the makings of a swashbuckling hero, and this is the role Fletcher Christian takes in this adventuresome adaptation. Gable is, in a way, Hollywood's ambassador in the story – just about convincing as an 18th century naval officer, but familiar enough to give US audiences a lead into the movie.

Opposite Gable is a mix of American faces and the British actors who had started to migrate stateside. Charles Laughton's performance as Captain Bligh is integral to the movie. You realise here that Laughton was rather a short man, and he plays on this, making Bligh a jumped-up, Napoleon-complexed bully; all sharp, jabbing motions, an arrogant stance and a face like a dead fish. Alongside Gable and Laughton, the third Best Actor nominee was Franchot Tone, although he is not really exceptional, merely worthy. There is a typically strong turn from Donald Crisp, and Eddie Quillan is surprisingly decent if a little overwrought. The only wrong note is perhaps Herbert Mundin, or at least his character. The bumbling little comedy performer was always good to see in Errol Flynn adventures and the like but he is wrong for this more serious affair. Note how he seems to disappear from the story when the mutiny takes place, which is fair enough – one couldn't really imagine that sweet little chap joining the mutineers or cast adrift and dying by inches.

The director is one of the masters of old Hollywood, multiple Oscar-winner Frank Lloyd. Lloyd's smooth, confident set-ups bring a tense, fractious feel to life on board ship, while never using too much obvious technique as to make it seem artificial. A lot of shots, such as the early one of Gable leading the press gang, show men facing each other in profile, aggressive, combative. In almost every shot we are made to feel the motion of the ship, and even below decks we have the swinging of hammocks. By contrast the scenes on dry land are palpably solid, emphasising the change to a more peaceful life on Tahiti. Lloyd is also one for composing tableaux that are memorable and iconic. There's an odd-looking but very effective shot shortly before the flogging scene, with punishment-doler Morrison staring coldly ahead on the left-hand edge of the frame, that has seared itself into my memory.

And ultimately it is just such a grand, iconic feel that characterises Mutiny on the Bounty. The Herbert Stothart score is a bombastic medley of nautical themes and emotional underscoring. The forceful, rhythmic editing of Margaret Booth provides us with some striking montages. And of course there is the fact that nothing is faked. Full-size replica ships were built and location filming was carried out in Polynesia, with none of the ugly back projection shooting that mars many pictures before and after. Such a mighty production demonstrates why you need such larger-than-life stars as Gable and Laughton. Here is a movie that does everything it can to announce that big Hollywood is back in all its glory.

When watching this great motion picture keep in mind that it is now over sixty (60)years old! Even through the passage of time it provides for entertaining viewing. Charles Laughtons performance as William Bligh captain of the Bounty basically set the standard as how Bligh is pictured and thought of when his name is mentioned. Other actors have portrayed Bligh but it is Laughtons portrayal that is remembered most. The 1984 version with Anthony Hopkins and Mel Gibson is probably a more historical version of actual events but this 1935 classic will most likely always be the sentimental favorite.

Wow. I haven't seen this movie for many years and it turned out to be even better than I'd remembered it. I really have to admire this film, as the acting and entire production are top-notch. I rarely give 10s, but this one comes very close--oh, heck...the more I think about it, the more I realize it does deserve it.

As far as the historical accuracy of the film goes, while it isn't perfect (after all, Bligh's exact role in starting the mutiny is tough to determine), it did get most of the points of this true tale correct--showing a rare reverence for the source material. All too often, history takes a back seat to making a marketable film. The only major thing the film got seriously wrong were the mutineers themselves. However, this is because only recent excavations have shown that the men who mutinied in effect killed each other off--as they apparently WERE scum after all. But, based on material available at the time, it was pretty good. As to Bligh's temperament, the British admiralty found Bligh completely blameless. However, later as governor of Australia, Bligh alienated everyone and was, by most accounts, a real jerk. So, the essence of the film appears to be true. Hmm...for once I have no serious complaints about the accuracy of a historical film--that's pretty rare.

The best part of the film, however, is that the actors were absolutely on top of their game. Charles Laughton, though prone to overacting by all accounts, was exceptional here. Clark Gable was in his element--and simply one of his best film roles. The same can also be said of Franchot Tone--here, he has a much deeper and meatier role than usual. In fact, the three came off so well that all three were nominated for Best Actor--necessitating the creation of Best Supporting Actor and Actress categories. The rest of the cast, the supporting journeymen actors, were great--with Donald Crisp (with hair!!) excellent as a troublemaker, Dudley Diggs as a very sympathetic drunkard and many others in top form.

The direction by Frank Lloyd, the cinematography, music, sets and location shooting were also wonderful. So why, if this film was so perfect, would they try remaking it?! This is a great example of a film whose remakes definitely pale by comparison. A perfect or at least near-perfect film in every way.

By the way, if you are curious about the real life Bligh, after both this mutiny and the rebellion in Australia (that he appeared to instigate), he was rewarded with the rank of Rear Admiral! Who says life has to be fair?

Although the versions with Marlon Brando and Trevor Howard, and with Mel Gibson and Anthony Hopkins, are fairer in presenting William Bligh than the 1935 version did, it is the 1935 version that remains the best American version of the story of Bligh, Christian, and the "Bounty". It is the most literary version (based on the novels of Nordhoff and Hall - there are actually three novels), and it did give Charles Laughton his most famous ogre (which he repeated later as Captain William Kidd twice), but somehow the story was properly told in this version. Somehow making a case for Bligh weakens the story of men rebelling when they can't stand anymore.

If one wants to see the story from Bligh's side, read his very readable account THE MUTINY ABOARD H.M.S. BOUNTY, but keep in mind that it is his account of his side of the story. Christian never did get a chance to produce his side of it. Peter Heyward, the real life version of Byams (Franchot Tone) had the family connections and money to publish his anti-Bligh account, but Bligh's book became a best seller.

Historically most people feel that Bligh was more bark than bite. Unfortunately for his reputation he would be involved (in later years) in two other mutinies: that of the entire British fleet (the "Great Mutiny of 1797), where his ship "H.M.S. Director" was the last ship to take down it's flag of mutiny); and the New South Wales mutiny of 1805, where he was the Governor of the colony and his measures led to a mutiny of the local New South Wales Corp. But the Great Mutiny was actually caused by government corruption and neglect of it's seamen. As for the 1805 mutiny, Bligh was trying to control the New South Wales Corps which was not only corrupt but bullying the civilians. In the end his reports led to the recall of the corp. to fight against Napoleon on the Iberian Peninsula. But Nordhoff and Hall presented Bligh as the villain there too.

The film also has more to it than the ranting of Bligh at "MR. Christian!" There are moments of comedy. Laughton's temper and anger are punctured a few times when the new cook (Herbert Mundin) keeps bungling things. When Laughton is angrily confronting a dissatisfied sailor, he happens to be staring directly at the sailor and Mundin. He orders the sailor to step forward, but Mundin does, causing Laughton to sputter. Also Mundin manages to toss garbage over the side so that it ends up hitting Laughton in the face. One wishes there had been more than this, or (better than that) an attempt to bring the two actors together in a comedy. Add to this Mr. Bacchus (Dudley Digges) whose leg (depending on when he is talking about it) was lost in a sea battle with the French, by a shark (who six months later turned up dead, with the leg still inside him), and shot off by a pirate off Madagascar (or something like that). His death in the film is a signal for the collapse of the one spot of humanity linking Christian's faction with Bligh's.

It is now generally accepted that Bligh was one of the greatest navigators in history, and the open boat voyage after being thrown off the Bounty remains an incredible achievement (he lost only two men). The film's best moments for Laughton is in this section, as he suddenly becomes far more wiser and humane trying to keep his crew healthy and able to continue to sail to safety. But when in charge of a full ship Bligh could not, or would not control his temper and his tongue. It was sufficient to get him into trouble. However, it was also his ticket to fame. Seaman remember the great navigator and the cartographer - the man who sailed with Captain Cook and who fought (at Copenhagen in 1801) next to Horatio Nelson. But the public will always remember the ill-tempered martinet, fairly or not, whose tongue made nautical history.