L'île au trésor

This version of Stevenson's masterpiece is probably the one that most closely follows the novel.It appears that they must have had a copy alongside when they were writing the script.Oh,we can certainly have criticisms,of inaccuracies,and diversions,but they're so small.Bale is some flat as Jim Hawkins,and he does appear a little dull-witted(which is NOT the same as being stupid)but what of it.He's the closest in age of any interpreter.I've heard people complain of Heston being cast against type as Silver,stating that he's not doing a hero.Nonsense!Silver happens to be an evil hero!Wood's Smollet is a little too young for the character,and Halsey and Coyle are both much too young for theirs(Hands and Morgan are described as rather elderly pirates)but what of it?They do a fine job.The fight at the stockade is much more elaborate than was described in the book,but can we have a Heston film that doesn't have an epic battle?Besides,it's so much fun.And Silver's escape is not as described in the novel,but it's so original,and so much in character,that we have to cheer the old blackguard in his resourcefulness.Get the video,stock up lots of beverages,make lots of popcorn,and settle back for a rousing,rollicking good time.

Shiver-me-timbers, this is the best version of the Robert Louis Stevenson classic! In fact it is a model of cinematic adaptation. Closely following the book, with whole scenes and dialogue taken straight from its pages, the film never bogs down into the kind of stuffy lifelessness that sometimes afflicts adaptations attempting to be faithful to their literary source. Indeed Frazier Heston's screenplay and direction capture the brisk, page turning pleasure of the book nicely. Add to his sure direction, wonderful locations, a picture-perfect cast and a rousing music score by the Chieftains and you have one of the best pirate movies ever made. And for once they really are pirates and not watered down, sentimentalized versions of them. They're cut-throats all, a scurvy lot of thieves, superstitious and dirty. You can just smell their stench under the hot tropic sun and lush vegetation of Skeleton Island.

Oliver Reed as Billy Bones gets the movie going smartly. We first see him with his granite visage at the head of the skiff, an old sea dog home from the sea. With his great hulk and whiskey whisper purr he exudes danger from every rum soaked pore of his being. Of course his old shipmates, the remnants of the crew of the now dead Captain Flint, are pursuing him. Christopher Lee, almost completely unrecognizable, is Blind Pew, a spectral, skeletal figure of death, whose fury, fueled by blindness is like some great ravaging bird of prey. He is wonderful and like Reed he creates a vivid, memorable characterization. A young Christian Bale is the definitive Jim Hawkins. He narrates the proceedings and is at turns appealing, capable and wily. He is a boy on the verge of young manhood who is about to have his mettle tested with the adventure of a lifetime. There is not a trace of the Jackie Cooper mawkishness about him. Richard Johnson as Squire Trelawney, Julian Glover as Dr. Livesey, and Clive Wood as Captain Smollet are all perfect in their roles. They beautifully capture the essence of quiet courage. Heroes without phony heroics, they are solid men of character sure of themselves and quite capable of dealing with Silver and his scurvy crew.

This brings us to Charlton Heston as Long John Silver. Ultimately for any version of this work to succeed it rests on the shoulder of the actor portraying the Sea Cook. Happy to say, Heston gives one of the best performances of his long career. Turning his stalwart, forthright screen persona on its head, he creates a monster that is complex, charismatic, and bloodthirsty. There is no Wallace Beery, Robert Newton sentimentality here. This is a natural leader of men who can dazzle with his bigger than life personality and tales of treasure, and the next moment plunge his cutlass into the bowels of his victim without even missing a beat. Never has he used his toothy smile to better effect. It is the smile of a vicious carnivore-a shark. On a lighter note Nicholas Amer brings the right balance of levity and pathos as Ben Gunn, the poor maroon. He is amusing without becoming a caricature, and his scene with Jim when describes his yearning for a piece of toasted cheese is wonderful. Both Pete Postlewaite as George Merry and Michael Halsey as Israel Hands are perfectly nasty.

Finally the music score by the Chieftains is superb. It captures by turns the lilting Celtic love of the sea, the grace and sweep of a great sailing ship setting out for adventure and the exotic dangers of buried treasure, pirates, flashing cutlasses, and midnight rendezvous on a far away island in the balmy tropics. Avast, me hearties, this is a film to treasure!

In Fraser Heston's production of Robert Louis Stevenson's masterpiece, an obvious labor of love by all involved, the classic tale sidesteps another excessively kid-friendly incarnation to live and breathe as Stevenson meant it to. Although its made-for-TV scale pokes through now and then, it does so only momentarily in each case. These little blinks aside, this heartfelt reading of the classic adventure is a worthy piece of work. It's still family-safe but this time there's real menace interwoven with the book's more genteel sensibilities.

How a film begins is often crucial and this `Treasure Island' begins so beautifully, and correctly. A mournful pennywhistle solo ushers in an opening credit sequence that could have been filmed by the painter N.C. Wyeth, whose vision infuses many of the film's frames. I replay this sequence several times whenever I screen this film because it is so evocative. It also perfectly sets the tone for the entire movie; beautifully done. But if they had just held the rousing, though excellent, music back a bit longer and let the sequence walk through on its own legs, it would have been one of the most perfect opening sequences ever filmed.

Charlton Heston as Long John Silver? Don't laugh. His now-familiar voice occasionally surfaces through his 18th century pirate patois, but never detracts. Heston's portrayal is completely effective and is handled with restraint and relish, a fact that is evident the moment his Silver first appears. Silver emerges from the back room of his waterfront Bristol grog shop to confront Christian Bale's uneasy Jim Hawkins who, having walked into Silver's lair, is realizing that he may, quite possibly, not be walking out. Assessing Hawkins through a world-weary expression that has seen it all several times, Silver weighs his options: hear the boy out or drag him into the kitchen and slice him into the salt pork stew, at least.

Heston's Silver is no buffoon. Instead, he is a dangerous man, not unlike the Deke Thornton character in Sam Peckinpah's `The Wild Bunch'; an intelligent person who is forced to endure, and make use of, the human dregs of his time, the best of whom can hold only a dim candle to him. Cunning, quietly remorseless, always several moves ahead of everyone in sight, yet patient in the face of relentless idiocy, this Silver is also a man whose soul has not been completely flogged out of him, by circumstance or the whip. His sincere respect for the innocent courage of Jim Hawkins gives this `Treasure Island' much of its humanity. If you don't feel a pang as Heston's Long John gazes chagrined at the loot, which, for the lack of more far-sighted colleagues, would have been his, you may have the proverbial hole in your soul. `Ah bucko', says Silver to Jim Hawkins near the film's end, after Jim rebuffs Silver's last gentle attempt to manipulate him, `what a pair we would have made'. Oh yeah, absolutely.

All of the book's heroes are portrayed with heartfelt competence; the blustering Squire Trelawney (Richard Johnson), the tack-sharp, impeccably-mannered Doctor Livesey (Julian Glover), the unflinching Captain Smollet (Clive Wood), and Jim Hawkins' arch-boy (Christian Bale in his mid-teens, filled out a bit post `Empire of the Sun', bearing no resemblance to his homicidal yuppie in `American Psycho'). Arrayed against them are the scurviest sea dogs who ever weighed anchor, complete with terrifying teeth and fierce, implied body odor: Oliver Reed's tragic Billy Bones, Christopher Lee's festering Blind Pew, Israel Hands (what a great name), Silver's murderous, cobra-like shipmate, (Michael Halsey), who provides a taste of what Silver himself may have been like in his younger days, and a most convincing Ben Gunn (Nicholas Amer). Peter Postlethwaite, the super-cool big-game hunter in the first sequel to `Jurassic Park', plays the bewildered George Merry, a man who should always flee from even the slightest ambition; someone who makes you happy to still be you, even if your 401K was riding entirely on Enron.

When the time comes for action, it's delivered with conviction. Early on, the tense, hateful confrontation in the Admiral Benbow inn, between the rum-soaked Billy Bones and his scary former shipmate, Black Dog (John Benfield), is beautifully rendered, as is the berserk fight at the island stockade later in the film. To its great credit, the film never tries to be funny, or even light-hearted. It simply forges ahead, telling Stevenson's great story. But near the end comes a scene in which Squire Trelawney confronts Silver, whose schemes are now hopelessly foiled, and attempts to call the old pirate to account. What briefly transpires is the film's only real yuk, but it's a peach.

It's easy to over-romanticize the period in which `Treasure Island' is set; swashbuckling as it may now seem, it was a time before widespread bathing (the future George III's German fiancé had to be told to please take a bath after arriving in England), flush toilets, anesthesia, toothpaste, germ theory, and any notion of social justice. But it was also a time when unbroken forests still covered most of North America, when Pittsburgh was just a rough-hewn, barely defensible French fort in the midst of a trackless wilderness (near the present site of the Pirates baseball stadium; Pirates?, hmmm), a time when, given the courage, adventurous spirits still had real room to move. The slate was still largely clean. Many irreversible mistakes had yet to be made. Anyone with a taste for history and, perhaps, a discernible distaste for certain aspects of our own `advanced' age will relate well to this forthright `Treasure Island'. If you've appreciated Charlton Heston as a movie star, you'll appreciate him even more as an actor. This `Treasure Island' is probably the best that will ever be made. A more `updated' version could certainly be produced; one that spurts more blood and exchanges more bodily fluids, with much of the book's period style and manner stripped out, but it would no longer be Stevenson, just Hollywood.

I have to agree with everyone who has lauded this film as the best adaptation of Stevenson's novel. "Treasure Island" has long been one of my favorite books and this is the first version that comes closest to my vision of the story. Fraser Heston obviously knew and loved this book, it's evident in every frame. The costumes, the sets, the actors and the music all combine to create an unforgettable cinematic adventure. When I first heard that Charlton Heston was going to play Long John Silver, I was skeptical, but his performance was spot on. He was able to communicate the moral ambiguity of Stevenson's character without making him comical. He comes across as a man who is at once dangerous and compelling.

Christian Bale was a great Jim Hawkins, coming closer to the way I pictured him in the book than any actor previously. The scene on the ship when Israel Hands is chasing him up the rigging was exactly the way I envisioned it, with all the urgency and tension it required.

Let me just take this opportunity to say that, while I wasn't familiar with Pete Postlethwaite before this film, his portrayal of George Merry really made me pay attention. All the supporting actors were perfect. Christopher Lee's Blind Pew is the stuff of nightmares and Oliver Reed as Billy Bones looked closest to the way I had always envisioned him.

The musical score by the Chieftains is one of the most perfect for any TV movie I have ever seen, and better than many for big screen films. It's one of the few scores I purchased on CD so that I could just listen to the music.

In spite of a few continuity errors, this film captured perfectly the look and feel of Stevenson's tale. It's one film I never tire of watching and I highly recommend it.

This is probably the closest adaptation from the novel, slightly marred by a tendency to linger over scenes inspired by iconic illustrations of NC Wyeth and others. The pacing when establishing characters is like a too-slow striptease, especially Billy Bones (Oliver Reed), Blind Pew (Christopher Lee), and John Silver (Charleton Heston). Heston's delivery, like Christian Bale's (as Jack Hawkins) is understated, which removes a little of the fun and all of the mercurial affection established by Robert Newton and Bobby Driscoll in th e1950 version. Both Bale and Heston are just a bit too cold to perform the Tango of a sonless rogue and a fatherless boy, so their path to grudging admiration plays out more like a chess game. I'd rather have Reed and Heston exchange roles, but what's done is done. Lee's vocalizations, usually so plummy, are disappointingly squeaky, a surprising choice for such a sinister role, but his physical acting superb. Julian Glover as Dr Livesey, Richard Johnson as Squire Trelawny and Clive Wood as Captain Smollet all capture their characters, though again, Glover's expressiveness is a tad subtle. The Chieftains...well, certainly there are many points in the film where the strident fiddling is extremely appropriate, but but what's missing is a few melancholy bars and some strains of sober suspense. Surely the Chieftains had a plaintive flute or something that could have done the trick. A bit of thumping drums delightfully prefigures "the Battle" music from Master & Commander, but the gunnery work in the assault on the blockhouse is unconvincing visually, especially the recoil effects and explosions. This is a film that could benefit from a little CGI tinkering, since the special pyrotechnics budget was apparently so frugal. The locations are really quite good, and the Hispaniola looks good on the outside, sometimes appearing to be actually sailing. The interior scenes are a bit too stable and a bit roomier than they should be.