Les Révoltés du Bounty

For the life of me, I have never been able to understand why the 1962 version of the "Bounty" tale is so maligned. It is a magnificent movie, stunningly photographed. It is not a perfect film, but it is undeniably entertaining. I actually (dare I say it?) enjoy it more than the original 1935 version that is so revered.

I can understand that some viewers balk at Marlon Brando's affected foppishness. IMO, however, the actor is taking a calculated risk in attempting to illustrate the profound transformation that Fletcher Christian undergoes as the story progresses. It does not always ring true, but, taken as a whole, it works very well. Some moments are brilliant. By the time we reach the actual mutiny, his growing rage (which has been suppressed almost imperceptibly up to this point) explodes in a massive rush and instantly we see a side of Christian that we weren't quite sure existed. His self-serving has finally given way to inevitable sympathy for the much-abused crew and even a sort of new-found idealism.

However, it is Trevor Howard's performance as Lt. Bligh which is the backbone of this movie. This man IS Bligh. At first he seems approachable and even affable, but each succeeding scene reveals some new brush stroke of character that illustrates the single-minded, ruthless soul of stone contained within. Howard also has this playfully mischievous smile that, every now and then, leads you to believe that there may be some glimmer of warmth inside the man. This hope, of course, is dashed to pieces every time.

"Mutiny on the Bounty" is also a strong example of how a soundtrack can make a film. This music always gives me goosebumps. From the overture through intermission to closing, it sets the tone of the picture brilliantly as a seafaring drama/adventure. It sounds like the ocean. It sounds the way the cinematography looks. Vast panoramas of blue ocean, endless skies, lush green tropical islands, and, most of all, the ship itself (which was built specifically for this film). And the icing on the cake is the song "Follow Me", one of the most hauntingly beautiful melodies ever written for the screen. To me (here I go again), it sounds like Tahiti.

Watch "Mutiny on the Bounty" in letterbox and full stereophonic sound and THEN see if you don't like it.

I wonder if they made more three-hour-plus films in the 1960s than any other decade? It seems that way. Here is another one. This also is a re-make from a 1935 version of the famous story

I liked this 'Mutiny On The Bounty' better than the critics did, who got annoyed at Marlon Brando's British accent. I found nothing wrong with it and I usually am critical about that sort of thing myself. Brando gave a solid performance.

Trevor Howard was convincing as the sadistic "Captain Bligh" and Tarita was fair as the love interest "Maimiti." The cinematography might have been the best feature of the film, a definite movie for widescreen as a lot of these mid '50s-to-mid '60s films were. There are some beautiful shots in here, beginning with those Tahiti sunsets. The color in this movie is magnificent.

Although not particularly a film you might watch over and over, I found no major fault with it except for perhaps the romance which was a bit sappy. The adventure, acting and photography were all top-notch and the three hours went by fairly fast.

While the initial critical reception given MUTINY ON THE BOUNTY was not as favorable as that given the original 1935 film, seen nowadays it is a very impressive telling of the Bounty story with some fine performances and a stirring musical score by Bronislau Kaper that fully captures the mood with some haunting and truly striking themes that give the film added dimension. The pictorial splendor of the technicolor photography at sea and in Tahiti is never less than eyefilling. A thrilling high point is the storm at sea with Kaper's music rising to powerful intensity.

Furthermore, there are two fascinating performances by Marlon Brando and Trevor Howard. Howard is not quite as showy in the role as the scenery-chewing Laughton but his characterization is a bit more complex. Brando does an excellent job as Christian, posturing in the manner of a gentleman and speaking with an upper crust British accent that is entirely credible. Indeed, when he reaches the mutinous moment in a rage of uncontrolled anger, he is at the top of his acting form. Even so, some of his most effective moments are quietly underplayed. His performance deserved an Oscar nomination--but with so much bad publicity surrounding the film and the hardships and strains involved in the making, Hollywood apparently gave him the cold shoulder. Years later, they did the same to Russell Crowe for his bad boy behavior.

Technically, of course, the film is far superior to the B&W 1935 Gable-Laughton film. Gorgeous sunsets are backdrops to the ship at sea and the island scenes in Tahiti are gorgeous to behold.

A missing element from the earlier film is the absence of the character played by Franchot Tone. Indeed, Tone was nominated for a Best Actor award, along with Gable. There are numerous other differences but this take on the story is a good one, every bit as valid as the 1935 film.

With all of the bad publicity surrounding the film relegated to the past, we can look at this film with a fresh viewpoint today and enjoy it for the entertaining blockbuster that it is. Highly recommended.

I first heard of this movie in the spring of 1996. It surprised me to learn that there was a remake to the 1935 Mutiny on the Bounty which I had recently watched for the 10th time. I hardly figured that the likes of a slurring Marlon Brando as Fletcher Christian and a cast of personally unfamiliar characters("who was Trevor Howard",I asked myself) could top the swashbuckling Clark Gable as Christian and the ripping story that the cast of the 1935 gem pulled off. How wrong I was to doubt the 1962 Mutiny on the Bounty. I loved it! I do not think that it is better than the 1935 Mutiny on the Bounty, but it stands as a different take. While the older Mutiny told a by the numbers high-seas adventure with sword fights and glitzy hollywood melodrama, the 1962 version turns out to as less of an action movie and more of a drama. It chooses to downplay the story more to better concentrate on the surprisly complex characters. How complex? Take the tormented Mr. Fryer, Captain Bligh's 3rd in command. He sees the wrongful treatment that his captain is giving the crew, but he does not want to go against the navy. On the other hand, there is McCoy, the old 30 year veteran--someone who seemly would have experienced cruelty similar to Bligh's--who mutinied along with the younger members. Then there is Brown, who ever the gentleman, tries to be loyal to Bligh,but, in the end, he must obey his gentle ways and go against the captain's harsh methods. Although Mills plays a key role in the film, his character does not hold much mystery; the captain overreacts too much, and he does not think it right. He does something about it. All of these different characters and more, play off one another beautifully. When the mutiny does happen, watching them work together(or against each other) is truly beautiful. The production values stir the soul. The gigantic bounty, the breathtaking location footage of Tahiti, the vast panaramic shots of the Atlantic Ocean, and the loud/proud moody score accented with Tahitian percussion. The dialogue is quick, clever and too the point.

All of these elements help to elevate the core story in Mutiny on the Bounty: Bligh and Christian. As Bligh, Trevor Howard changes the character immortalized by Charles Laughten in the 1935 version. Instead of inhuman, demonic tyrant, Howard portrays Bligh simply as an excruciatingly stern captain focused(a little overzealously) on doing the best job that he can. If his mean do not pursue his goals with the same fervor. He gets impatient then frustrated then angry and then violent all in quick succession. He makes for a very realistically workaholic without a life, and he wants everyone else to be a workaholic, too. I thought Clark Gable's Fletcher Christian could not be topped...until I saw Marlon Brando undergo a sheer transformation playing the role. After seeing Brando in ON THE WATERFRONT and the equally American THE GODFATHER, I could not imagine him playing 18th Century British officer...but he did. Brando perfects the haughty, posturing walk. He perfects the clipped, accented speech. He perfects the foppish, effeminate walk of a "true" English gentlemen of high-born connections. Brando does it so remarkably well that one cannot imagine such sissified character leading a mutiny against a tyrannical man like Bligh. Brando's transformation of Christian from sissy to mutiny leader baffles. Unlike Gable, he doesn't gloss over the decision to be a mutineer. Gable made it look easy and as the "right thing to do". Realistically, is it the right thing to do? To throw away your career that you worked hard for? To throw away your life? All for the sake of a feeling a moral belief? It may sound hard, but when faced with a such a delimma, it can be agonizing...which is exactly what Brando captures to a tee, right down to the last frame.

Mutiny on the Boutny 1962 truly needs to be seen. Please don't listen to critics. This movie is fantastic.

This is my favorite version of Mutiny of the Bounty, and I think it takes a very unfair pounding mainly on the basis of comparisons to the original. The production is superb, the story is paced a lot better, and it details Captain Bligh's cruelty more thoroughly. I can't vouch for the historical accuracy of the film, Brando's concept as a foppish Mr. Christian is a bit hard to believe, although he played it extremely well. Trevor Howard's Bligh is one of the most underrated performances in the world. For him to take a role heavily identified with another actor, play it his own way, and pull it off is extremely difficult. I give him enormous credit for this outstanding performance. I think the biggest criticism of this film is that it's not the original, but still extremely well done under the circumstances and very entertaining. ***