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Kapina laivalla (1962) Online

Kapina laivalla (1962) Online
Original Title :
Mutiny on the Bounty
Genre :
Movie / Adventure / Drama / History / Romance
Year :
1962
Directror :
Lewis Milestone,Carol Reed
Cast :
Marlon Brando,Trevor Howard,Richard Harris
Writer :
Charles Lederer,Charles Nordhoff
Budget :
$19,000,000
Type :
Movie
Time :
2h 58min
Rating :
7.3/10

In 1787, British ship Bounty leaves Portsmouth to bring a cargo of bread-fruit from Tahiti but the savage on-board conditions imposed by Captain Bligh trigger a mutiny led by officer Fletcher Christian.

Kapina laivalla (1962) Online

The Bounty leaves Portsmouth in 1787. Its destination: to sail to Tahiti and load bread-fruit. Captain Bligh will do anything to get there as fast as possible, using any means to keep up a strict discipline. When they arrive at Tahiti, it is like a paradise for the crew, something completely different than the living hell aboard the ship. On the way back to England, officer Fletcher Christian becomes the leader of a mutiny.
Cast overview, first billed only:
Marlon Brando Marlon Brando - 1st Lt. Fletcher Christian
Trevor Howard Trevor Howard - Captain William Bligh
Richard Harris Richard Harris - Seaman John Mills
Hugh Griffith Hugh Griffith - Alexander Smith
Richard Haydn Richard Haydn - William Brown
Tarita Tarita - Maimiti
Percy Herbert Percy Herbert - Seaman Matthew Quintal
Duncan Lamont Duncan Lamont - John Williams
Gordon Jackson Gordon Jackson - Seaman Edward Birkett
Chips Rafferty Chips Rafferty - Michael Byrne
Noel Purcell Noel Purcell - Seaman William McCoy
Ashley Cowan Ashley Cowan - Samuel Mack
Eddie Byrne Eddie Byrne - John Fryer (Sailing Master)
Frank Silvera Frank Silvera - Minarii
Tim Seely Tim Seely - Midshipman Edward 'Ned' Young

The ship built for the film sank in the Atlantic Ocean after taking on water on October 29, 2012 during Hurricane Sandy off of the East Coast of the United States. It was last seen with only the masts standing above the water. Two of the crew died: the Captain, Robin Walbridge, and Claudene Christian, the direct descendant of Fletcher Christian.

Marlon Brando, wearing his naval uniform, was widely booed and jeered at the New York City premiere, while Trevor Howard received thunderous applause. Brando walked out of the cinema after the audience started laughing at his English accent.

Marlon Brando's notorious on-set antics reached a pinnacle on this film. According to Peter Manso's Brando biography, Brando had so much clout by this point, that he got MGM to green-light virtually every outrageous idea he had. At one point, he pulled people off the film crew to decorate and design a friend's wedding in Tahiti. Another time, he had airplanes filled with cases of champagne, turkeys and hams flown to Tahiti for parties.

Lieutenant Bligh (his rank was only that of a Lieutenant, but as he commanded the ship, he was automatically called Captain) was chosen for the mission to Tahiti because he was considered one of the most skilled navigators in the world, having been personally selected by Captain James Cook as Master (his title now would be Navigator) on his third voyage around the world. Additionally, Captain Bligh had with him the second copy (referred to as K2) of the John Harrison "Longitude" watch, the world's first Marine Chronometer (a clock or watch accurate and rugged enough to be used for navigation at sea). It was recovered, still functioning, from Pitcairn Island, and is stored at the National Maritime Museum near London.

In reality, Captain Bligh was not a "flogging Captain". The ship's log shows that Bligh flogged less, not more, than most other Captains. But he had an acid tongue, believed he was always right, and did not hesitate to berate his officers in front of the men, destroying their authority. This was the real cause of the mutiny.

The scene where Christian strikes Mills was problematic. On the first take, when Marlon Brando struck Richard Harris, it was a damp squib. Harris responded with a mock curtsy and waggled a limp wrist in the air. Brando didn't get the joke. On the second take, the blow was weak. Harris thrust his chin forward and said, "Come on, big boy, why don't you fucking kiss me and be done with it!" Brando glared, white with rage. Then Harris kissed him on the cheek, hugged him, and said "Shall we dance?" Angry and embarrassed, Brando stormed off the set.

Not only did Marlon Brando improvise his lines in scenes with Trevor Howard, making it impossible for his co-star to pick up his cues, but he even started putting cotton in his ears so he couldn't hear Howard's lines.

The scene where the ship arrives in Tahiti, to be rapturously greeted by the natives, was filmed in the same spot where the real Bounty dropped anchor in 1788. Six thousand local extras were used for the sequence.

Richard Harris agreed to take a third-billed role in this film purely to work with Marlon Brando. However, Brando's on-set behavior soured his adoration of the star. Harris would later describe the production as "nightmarish" and "a total fucking disaster".

The least accurate of the three major film versions of the famous story.

Trevor Howard was initially reluctant to play Bligh, because he felt he was far too old for the part. The real life Lieutenant William Bligh was thirty-three when the Bounty set sail, and thirty-five at the time of the mutiny. After all the problems filming, Howard said he wished he had turned the film down.

Marlon Brando later wrote a long letter to Trevor Howard apologizing for his behavior during filming. Howard was largely responsible for helping the American star win a libel action against a British newspaper concerning the film. He also agreed to appear with Brando in Morituri (1965).

The ship became dangerously heavy during filming, due to all of the cameras and equipment.

The first instance of a ship being constructed from its original plans specifically for the purposes of being used in a film.

Marlon Brando and Tarita met during filming and later married.

For almost four decades, the ship used in this film, built to MGM's specifications at Lunenburg's Smith and Rhuland Ltd., has been a popular tourist attraction in St. Petersburg, Florida. Visitors get to tour the ship, and learn more about both the historical H.M.S. Bounty and MGM's two screen versions of the Nordhoff and Hall book. She was re-used as the Edinburgh Trader in Piraci z Karaibów - Skrzynia umarlaka (2006), and sank during Hurricane Sandy in 2012.

Marlon Brando was standoffish with the British cast. Moreover, he alienated several of them with his chronic lateness on the set, and his habit of changing his interpretation of scenes after rehearsing them. On the day they shot the scene where the natives welcome the Bounty to their island, he repeatedly ignored calls to the set, while he was talking to some local women. When he finally showed up, Trevor Howard, who had been sweltering in the hot sun waiting, lost his temper and walked off the set, making Brando wait for him.

Hugh Griffith was fired during filming when his alcoholism became unmanageable. That is why his character disappears for large portions of the film. Indeed, his behavior was considered so bad, that he was not allowed back onto the island for the final scenes.

Exhibited in Ultra Panavision 70, in the extremely wide 2.76:1 aspect ratio. After this movie, only one more film, Khartoum (1966), was filmed in this 70mm process in the twentieth century.

One morning, Trevor Howard was nowhere to be found until the local police drove him to the dock two hours after his call. He had been up drinking and carousing all night, but still performed his scene flawlessly.

Richard Harris had such a horrible time on the film, that he refused to attend the premiere.

Once built, the reconstructed Bounty then sailed the seven thousand miles from Nova Scotia to Tahiti.

Richard Harris insisted on third billing, despite being largely unknown to film audiences.

During the final weeks of location filming, Marlon Brando decided to move into an abandoned villa thirty miles further from the shoot than his previous house. MGM spent several thousand dollars remodelling the place, so he could live in it for two weeks.

When Richard Harris arrived in Tahiti, bottle of bourbon in hand, the clerk at the check-in desk said, "Good morning, Mister Harris." A bemused Harris asked, "How do you know my name?" The clerk replied, "I recognized you from your hand luggage."

The ship used in the film was also used in Treasure Island (1990).

The Bounty's original reason for going to Tahiti was to transport breadfruit seedlings to Jamaica, where they would be cultivated to provide inexpensive food for the slaves working on British plantations. Ironically, the breadfruit seedlings which Bligh brought to Jamaica as an inexpensive food for the slaves working on British plantations were an utter failure. The slaves took one bite, and refused to eat any more. In effect, they mutinied, just like Bligh's crew.

During one scene, after a dozen or so takes, Marlon Brando gave up and simply walked off set muttering, "I don't know if it's going to work or not". Sir Richard Harris was left agog. When it was clear that Brando wasn't coming back, he yelled after him, "Damn you! Look at me! Act! Who the hell do you think you are?"

During the filming of the movie, Marlon Brando's weight fluctuated wildly and he began to regularly split the seat of the pants on his costumes. The costumer solved the problem by putting stretch fabric in Brando's pants.

Legend has it that Marlon Brando ripped fifty-two pairs of trousers, due to his overeating.

Marlon Brando wore lifts, so he would look the same height as Trevor Howard.

Even though The Bounty was larger than the original ship, the vessel was so small, crew members were hard pressed to find places to hide, so they would be out of camera range, and the ship reacted so violently to each ocean wave, that there was an epidemic of seasickness.

According to a 1980 "Films in Review" career article on Marlon Brando, Screenwriter DeWitt Bodeen claims that the finale of the film was suggested by Billy Wilder, approved by Brando, and shot by George Seaton.

Marlon Brando's second wife Movita previously played Tehani in Bunt na Bounty (1935).

Marlon Brando and Elizabeth Taylor were criticized in the media for what was perceived as their part in causing the budgets of their epic films (this movie and Kleopatra (1963)) to balloon out of control. Aside from their paychecks (1.25 million dollars for Brando, with overages; a minimum of one million dollars to Taylor, both record salaries for the time), the press claimed it was prima donna behavior on the part of the two stars that caused the resulting fiscal hardships at their respective studios, MGM and 20th Century Fox. Although both films were costly, and neither made a profit, "Cleopatra" was a far more costly flop. It was budgeted at forty-four million dollars (approximately three hundred thirty million in 2012 dollars, making it the most expensive film ever made, when adjusted for inflation) and earned the studio only twenty-six million dollars in rentals, against a budget of nineteen million dollars and less than ten million dollars in losses for "Bounty". While MGM was hurt financially, "Cleopatra" nearly bankrupted Fox. In his defense, Brando later pointed out that MGM charged five hundred thousand dollars, paid in the mid 1930s to the book's two authors, to the budget of this remake, an example of creative accounting that makes Hollywood profit-and-loss statements highly suspect. Whatever the truth, the fact is that Brando's career went into decline after this movie, whereas Taylor went on to win a second Oscar, and remained among the highest paid movie stars in the world throughout the 1960s. Brando would regain his star power, however, during the 1970s.

The reconstruction was built in Lundenberg, Nova Scotia, where it was the first three-masted sailing vessel to be launched since the 1880s.

Trevor Howard said Marlon Brando was "unprofessional and absolutely ridiculous. He could drive a saint to hell in a dogsled."

In 1805, Bligh was appointed governor of New South Wales. Sometime afterward, complaints of his "oppressive attitude" filtered back to London. Many of these complaints were due to Bligh's attempts to combat corruption. The offenders eventually deposed Bligh.

Marlon Brando turned down starring roles in Lawrence z Arabii (1962) and Kleopatra (1963) in order to star in this film.

When the film was released, there were complaints that it was too long, and that Marlon Brando's accent sabotaged the movie.

In 1808, New South Wales Governor Bligh was overthrown in a coup led by his own under-minister, Deputy Governor George Johnston. This mutiny resulted in Bligh being deported to England. Johnston was eventually dismissed.

Carol Reed clashed with Marlon Brando and MGM studio management early in the production. He and Brando disagreed about the interpretation of Captain Bligh, who Brando wanted presented as an unambiguous and obvious villain, and Christian, who Brando wanted to play as a fop. Reed also had problems with the screenplay, but when he tried to omit certain scenes from the shooting schedule, executives ordered him to shoot directly from the script. He tried to convince production head Sol Siegel to fire Brando on the grounds that he was holding up production. When that didn't work, he asked to be relieved, but production head Sol Siegel refused to allow it. Then Siegel decided to fire him. Had Reed been allowed to quit, he would have been paid nothing for his time, but since MGM fired him, he pocketed two hundred thousand dollars for his time on the film.

To promote the film, MGM sent the Bounty on a round-the-world cruise to visit the various cities where the film was to open. When it reached London, Trevor Howard joined a crowd of admiring on-lookers to watch it sail up the Thames, where the Tower Bridge was raised to let it pass. When a publicity man asked Howard, "She is beautiful, isn't she?" He replied, "Of course. She's mine."

Peter O'Toole turned down the role of Seaman John Mills, as he was busy starring in Lawrence z Arabii (1962).

In 1811, Bligh was appointed to Rear Admiral and in 1814 to Vice Admiral, but never commanded a ship again after his governorship.

The ship cost seven hundred fifty thousand dollars to reconstruct.

Marlon Brando slowed down production, questioning each line in the script and each of Lewis Milestone's suggestions. He also demanded repeated re-writes to meet his ever-changing vision of the film. Most days started with Brando and Charles Lederer going over the day's scenes in private until well past noon, when the actor would finally emerge ready to shoot. Although Brando often derided the director as mechanical and unfeeling, and even suggested he was going senile, whenever Milestone threatened to quit, it was Brando who begged him to return.

Many writers did uncredited re-writes on the screenplay, including Eric Ambler, William L. Driscoll, Borden Chase, John Gay, and Ben Hecht.

Producer Aaron Rosenberg had originally planned to shoot the film in sequence, starting with shipboard scenes under the gray skies of October, then bursting into color with scenes shot in Tahiti. With the reconstructed Bounty arriving late to the location, director Carol Reed had to start shooting the island sequences first, or any footage that did not require the ship in the background. Even then, Reed ran out of completed script pages before the Bounty arrived.

When Richard Harris heard that Carol Reed was being replaced, he groaned, "We're in the hands of bloody philistines now."

Four hundred thousand feet of lumber were used, ten thousand square yards of canvas were sewn by hand, and ten miles of rope were rigged for the reconstructed version of the H.M.S. Bounty.

According to Bob Thomas's 1973 biography "Marlon: Portait of the Artist as a Rebel", after the firing of Carol Reed, Marlon Brando began to usurp the power of replacement director Lewis Milestone - a well-respected veteran with two directing Oscars to his credit. Milestone noticed that the cameramen would continue rolling in scenes featuring Brando after he had said cut, and would only desist after being signaled by Brando. Milestone considered quitting, but was dissuaded from doing so as it would generate more bad publicity for the film and M.G.M. He stayed on, but loafed around the set, leaving Brando to his own devices. One afternoon, a legendary occurrence transpired: The operating cameraman himself called cut, explaining that the sleeping director's feet were in the frame. When asked about the incident in 1979, Brando dismissed any criticism, saying that actors essentially directed themselves anyways. Hollywood insiders were outraged by Brando's treatment of Milestone, and the backlash from his behavior on this picture (he was blamed fairly or unfairly for the massive cost-overruns that doomed the picture financially) began the steady waning that led to the eclipse of Brando's star by the end of the 1960s.

Before the film was released, the Saturday Evening Post published a scathing article about the production titled "The Mutiny of Marlon Brando". Drawing largely on an interview with Lewis Milestone, they recounted everything Brando had done to delay the production, with little mention of problems with the Bounty set, or the weather on-location. Brando got the new head of MGM, Joseph R. Vogel, to issue a statement exonerating him from any role in the film's escalating budget or production delays (that statement would later be used against Vogel when he was fired) and sued the magazine for five million dollars. He would drop the case before it came to trial.

The film was later parodied in Carry On Jack (1964), in which Percy Herbert (Seaman Matthew Quintal) also appeared.

On one occasion, Marlon Brando moved the marks where Richard Harris was supposed to stand during a tense scene on the deck of The Bounty. Over the next three takes, he'd change his mind, and move Harris somewhere else. Harris, knowing that Brando was looking for a confrontation, meekly went where he was told. He told his fellow actors, "Forget your grand ideas, lads. We're just cabbages in that man's cabbage patch."

In the scene of William Bligh's court-martial, the judge reprimands Bligh for his "excess of zeal" in administering discipline and comments contemptuously on his family background: "the Admiralty has always sought to appoint its officers from the ranks of gentlemen". This is unhistorical. In reality, the court not only exonerated Bligh, but praised him for his bravery and exemplary seamanship in his command of the open vessel that Bligh and the loyalists managed to reach Timor in. (This film passes rapidly over this voyage, in stark contrast to Bunt na Bounty (1984), which is markedly more sympathetic to Bligh.) In his book "The Hollywood History of the World" (1988), screenwriter and historical novelist George MacDonald Fraser calls this scene "an offensive fiction" and says that despite the film's insistence on the difference between Bligh and Christian's social backgrounds, "both men were from good, but not upper-class families."

At the "climax" of Maimiti's dance for Mr. Christian, there are two jump cuts, revealing that about a second of the dance is repeated twice, adding to the superhuman appearance of her efforts. Reviewers have not disparaged this special effect.

Lewis Milestone never directed another film (though he did direct two television series episodes before his death in 1980). His final take for the film was two hundred fifty thousand dollars. In later interviews, he would estimate that Marlon Brando's behavior had cost the production six million dollars.

Captain Bligh fought under Admiral Nelson at the Battle of Copenhagen, one of the three large battles commanded by Admiral Nelson.

As shooting dragged on, the rainy season hit, further disrupting production. Many days were lost as torrents of rain, at times as much as seventeen inches in one day, fell on the sets. After seventeen days of being unable to film, due to weather, the company returned to the MGM lot in Culver City to shoot interiors.

Richard Harris was originally offered a different role, which he rejected, because it was too small. When he was offered the role of John Mills, he demanded star billing with Marlon Brando. That was declined, but he did get more money.

Jack Hawkins was considered for the role of William Bligh.

At one point in the film, Fletcher Christian tells Midshipman Young to get the ship's carpenter to build him a cross so Young can carry it about the ship in sarcasm to Young's disgust at low morale amongst the crew. The ship's carpenter of the Bounty, although never seen in the film, was William Purcell who stayed loyal to Bligh, and lived to an old age, dying in March 1834.

Lindsay Anderson arrived on the set in Tahiti to offer Richard Harris the lead role in Sportowe zycie (1963).

The film cost an estimated nineteen million dollars in 1962 (approximately one hundred forty-four million dollars in 2012 dollars), which was a huge expenditure at the time. Lawrence z Arabii (1962), which had an even longer shoot, seventeen months, compared to eight for this movie, was brought in for approximately five million dollars less. Though this film broke even, it was considered a flop, as MGM earned back only a little over half the budget in rentals (the amount remitted to the studio from theaters). By contrast, "Lawrence" grossed twice as much as this movie, and generated more than twice the amount of rentals for its studio. Though some claim this film eventually went into profit with its sale to television, films were generally sold in packages, so it is unlikely that the film ever stopped the flow of red ink on MGM's books. The failure of this picture signalled the end of Marlon Brando's grasp on super-stardom for a decade, until his Oscar-winning role in Ojciec chrzestny (1972).

The reconstructed ship that was built for the filming was put on display at the 1964 World's Fair in New York City.

Last movie directed by Lewis Milestone. He only did two television episodes after this.

Marlon Brando fell in love with the Tahitian location. In particular, he valued not being recognized everywhere he went, and enjoyed the attentions of several of the Tahitian women.

The film lost ten million dollars worldwide.

It has been claimed that George Seaton and Jacques Tourneur directed re-takes for the film.

Many of the cast and crew suffered dysentery and other tropical ailments. They also had to deal with scorpions and rats.

In Tahiti, if someone wants you to dance, it is considered rude to decline. So though Captain Bligh didn't want to dance, he had to dance with Mahiti to avoid offending the King.

Uwe Boll was inspired to join the film industry after seeing this film.

Marlon Brando personally coached Tarita on her dialogue.

On ITV's " Clapperboard" in the late 70's Richard Harris told a story about his third billing on " Mutiny on the Bounty ".During the summer of 1959, Robert Mitchum and Richard Harris had become good friends while filming " A Terrible Beauty" at Ardmore Studios outside Dublin. Harris rang Mitchum to see what sort of reaction the Bounty movie was receiving. Immediately Mitchum surprised Harris by telling him that he was the main focus of attention, and that everyone was talking about him. Harris was delighted but later on , called him back and asked " Are you sure?" , and Mitchum told him " You're on everyone's lips over here". Later again, Harris decided to call him one more time, but this time asked " But what are they saying, Bob?" . To which Mitchum replied " They are all saying, who the f**k is Richard Harris???".

When the sailor who was being "Keel hauled" for attacking Captain Bligh disappears under the Bounty because he was attacked by sharks, the ominous music notes played as the shark swims by, sound the same as the signature theme from Szczęki (1975).

Marlon Brando claimed that the real problem with the film was MGM's failure to deliver a complete script in the year and a half he worked on the film, despite numerous promises to do so, even when he threatened to stop reporting to work. He also claimed the studio inflated the film's budget, adding six million dollars in overhead charges, including the cost for rights to the original novels.

Filming on The Bounty was hellish, as strong offshore winds constantly battered the ship, inducing mass seasickness. Trevor Howard said that every evening, after returning to his hotel, he continued to feel the ground shaking beneath his feet. "And that was before I'd had a fucking drink."

Marlon Brando refused the film twice, and both roles, Bligh and Christian, before signing on for five hundred thousand dollars against ten percent of the gross, plus five thousand dollars a day if shooting went over-schedule. It did nothing else, and his overtime, alone, hit one million dollars. After shooting for two months, Brando decided he'd rather play the botanist (Richard Hayden).

Average Shot Length = ~8.5 seconds. Median Shot Length = ~8.1 seconds.

Marlon Brando and Trevor Howard reunited in Superman (1978).

Marlon Brando became quite obsessed with Fletcher Christian and the story of the Bounty. He did a huge amount of research and contributed considerably to the script. He also fell in love with the Tahititian locations, would marry one of his co-stars, Tarita , and would purchase the island of Tetiora, just 30 miles off Tahiti. Ironically his first born son, Christian Brando, has no connection to " Mutiny on the Bounty " , having been born in 1958, and who was named after his friend, fellow actor Christian Marquand, rather than Fletcher Christian.

After Bunt na Bounty (1935), this was the second adaptation of the novel to receive an Academy Award nomination for Best Picture.

When Joseph L. Mankiewicz took over from Rouben Mamoulian as director of Kleopatra (1963), he wanted Trevor Howard as Caesar and Marlon Brando as Mark Antony.

In 1958, MGM announced that John Sturges would be directing Spencer Tracy as Captain Bligh, Burt Lancaster as Fletcher Christian, and Montgomery Clift. When Marlon Brando was signed later that year, Sturges was out.

Trevor Howard and Richard Harris would later play the same character in separate versions of "The Count Of Monte Cristo", yet decades apart. They both played Abbe Faria: Trevor Howard (1975), and Richard Harris (2002).

Richard Harris relished filming in Tahiti in spite of the unpleasant conditions, as it was his chance to be Robinson Crusoe.

Production was hit by bad torrential rain and storms.

Brando felt he was made something of a scapegoat, given all the problems which occurred during production. As far as Hollywood was concerned, Brando's antics on the set of "Mutiny on the Bounty" was the last straw. The actor's box office appeal began to wane soon after the film was released and producers grew wary of his reputation.

The only Best Picture Oscar nominee that year to be also nominated for Best Song.

It is the only Best Picture Oscar nominee that year not to win any Academy Awards.

Marlon Brando's death scene was filmed with Richard Harris talking to a log, because he refused to act any more with the star. When Brando wanted to film his close-ups, Harris threw the log down and said, "Let him talk to this."

The MGM built vessel was to be burned at the conclusion of the movie, as the historical ship had been: Marlon Brando said if they burned the ship, he would not finish the film. A forty-foot model Bounty was constructed and burned instead.

Marlon Brando filmed his death scenes on a bed of ice to simulate dying from severe burns. The crew could only shoot three takes at a time as Brando's skin would turn blue as the result of the chill.

Marlon Brando's death scene was directed by an assistant, as Lewis Milestone couldn't bear dealing with him. An actress was kneeling beside Brando off-camera with his lines written on her forehead.


User reviews

Silly Dog

Silly Dog

When the news broke that MGM had the audacity to remake the hallowed 1935 classic `Mutiny on the Bounty' starring Clark Gable and Charles Laughton, the critics were aghast. As the news leaked out about trouble in production, they whipped themselves into a self-righteous frenzy. Brando was a lightening rod for criticism because he was renowned as arrogant hothead. Compared with Gable, who was universally loved and adored, Brando was a boor. It was almost sacrilegious to put Brando in any part Gable had played. When the film opened, it never had a chance. It was ripped to shreds. Brando was ridiculed as a lower class character actor who couldn't step up to the part, and derided for his dreadful attempt at an English accent. The film was a box office loser and critics smugly declared they told us so.

The film was beset by problems throughout production. The full-scale replica of the Bounty arrived on location two months after the film was scheduled to begin shooting. There were three deaths among the film's personnel and the film ran well over budget. The biggest problems were the result of Brando's constant temper tantrums as he tried to rewrite the entire film from the set. At least six writers came and went. After countless confrontations, director Carol Reed gave up and quit to be replaced by Lewis Milestone (`All Quiet on the Western Front'). Milestone was an utterly intractable director that Brando couldn't bully. The result was a battle between the immovable object and the irresistible force, with daily emotional pyrotechnics that further delayed the film. Although Milestone usually prevailed in the fracases, this film turned out to be his last in a 37-year career.

Over the years, the critics have continued to pillory the film, but the public generally receives it more favorably as time passes. Though I often disagree with the masses, in this case I concur. Having seen both the 1935 and 1962 versions, I prefer the latter. Gable is clearly more charming and dashing in the role, but Brando gives the more complete performance. Gable's Christian seems far less ruffled by the events that transpire on the Bounty, whereas Brando accomplishes a believable transition from the cavalier rogue to an honorable hero who endures self-torment over the treasonous act. Though Brando's English accent is oft ridiculed, I have heard far worse. Part of the problem probably stemmed from the fact that the accent he attempted to imitate was very upper crust and he delivered it with a certain sneering tone that made it seem like he was mocking the English. Just hearing that accent from the same lips that gave us, `I coulda been a contenda' was a kind of ironic comedy unto itself.

Between the Bligh portrayed by Charles Laughton and that depicted by Trevor Howard in the remake, Howard wins hands down for pure detestability. Most of the production values, such as music, set design and costumes were superior in the remake. Moreover, the remake was more historically accurate than the original.

The film features a youthful Richard Harris in the role of Mills, who gives an excellent performance of the petulant sailor. Also noteworthy is the lovely Tarita, a native Tahitian who plays Christian's love interest Maimiti, and does a scorching belly dance. This was Tarita's only film, but to anyone who has seen the film, she will not be soon forgotten.

This is an excellent film. It was nominated for seven Oscars including Best Picture, but it was shut out, trampled by `Lawrence of Arabia'. It is highly entertaining with wonderful costumes, props and sets, fabulous locations and photography, and some terrific performances. Though many will disagree, I rated it a 10/10. If one can step back from the controversy that swirled around this film when it debuted, it is an easy film to enjoy.
Cordaron

Cordaron

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. ***
Axebourne

Axebourne

Spectacular and lavish second retelling with extraordinary performances and wonderful outdoors . This high-budgeted rendition contains the mightiest excitement that ever swept across the sea or the screen . The Bounty leaves Portsmouth in 1787 . It is commanded by captain Bligh , he was chosen for the mission to Tahiti because he was considered one of the most skilled navigators in the world , having been personally selected by Captain James Cook as Master , title now would be Navigator , on his third voyage around the world . Its objective : to sail to Tahiti and load bread-fruit . The Bounty's original reason for going to Tahiti was to transport breadfruit seedlings to Jamaica where they would be cultivated to provide inexpensive food for the slaves working on English plantations . Captain Bligh (Trevor Howard, he was initially reluctant to play , because he felt he was far too old for the part, the real life Lieutenant William Bligh was 33 when the Bounty set sail) will do anything to get there as fast as possible , utilizing any means to keep up a rigid discipline . When they arrive at Tahiti , it is like a paradise for the crew (Richard Harris , Richard Haydn , Hugh Griffith , Percy Herbert , Gordon Jackson , among others) and officers , something totally different than the living hell aboard the boat . On the way back to England, 1st Lt. Fletcher Christian (Marlon Brando) becomes the chief of a rebellion .

This is the second adaptation of the vintage story of mutiny during the turbulent voyage based on one of history's greatest true life sea adventure . It's the colorful classic version very well played and with marvelous scenarios . Interesting screenplay tough there are some gaps and flaws , as many writers did uncredited rewrites on the script, including Eric Ambler, William L. Driscoll, Borden Chase, John Gay and Ben Hecht . Big budget adaptation as the film cost an estimated $19 million in 1962 which was a huge expenditure at the time . The ship cost $750,000 to reconstruct ; for almost four decades, the ship used in this film, has been a popular tourist attraction in St. Petersburg, Florida. Visitors get to tour the ship itself and learn more about both the historical H.M.S. Bounty and MGM's two screen versions of the Nordhoff and Hall book . She was reused in ¨Caribbean pirates¨ and was also used in ¨Treasure island ¨ and sank during Hurricane Sandy in 2012.

This account of the mutiny led by Fletcher Christian against captain Bligh is highlighted thanks to glamorous cinematography by Robert Surtees , as the last Ultra Panavision film to be shown in the extremely wide screen. Emotive as well as haunting musical score by Bronislau Kaper . Extremely memorable acting by Marlon Brando who brings his own powerful individualism to contrasting role of Trevor Howard with opposing attitude whose inevitable clash receives greatest importance . Interesting portrayal of Fletcher Christian's Marlon Brando and Bligh's Trevor Howard who bears little relation to Mel Gibson-Anthony Hopkins version . Furthermore , a sensual and romantic relationship between Marlon Brando and Tarita, the Tahitian beauty actress who played Maimiti, they met during filming and later married. Secondary cast is frankly excellent , such as Percy Herbert as Seaman Matthew , Duncan Lamont as John Williams , Gordon Jackson as Seaman Edward ,Noel Purcell a Seaman William , Eddie Byrne as John , Frank Silvera as Minarii and Hugh Griffith was fired during filming when his alcoholism became unmanageable , that is why his character disappears for large portions of the film . Compelling direction by Lewis Milestone who captures the feel of sea and harshness of the times . After the firing of Carol Reed, Marlon Brando began to usurp the power of replacement director Lewis Milestone , a well-respected veteran with two directing Oscars to his credit , in fact , it was last movie directed by Lewis Milestone ; he only did two TV episodes after this . Other renditions based on these historical events are the followings : Old and black and white take on titled 'Mutiny on the Bounty (1935)' by Frank LLoyd with Clark Gable , Charles Laughton and Franchot Tone and revisionist storytelling titled ¨Bounty¨ by Roger Donalson with Mel Gibson , Anthony Hopkins , Bernard Fox and Liam Neeson .

The real deeds are the following : In 1787, Captain Bligh was chose to command HMS Bounty on a voyage to Tahiti, where he was to collect breadfruit trees with the object of introducing them to the Caribbean . Ironically, the breadfruit seedlings which Bligh brought to Jamaica as an inexpensive food for the slaves working on English plantations were an utter failure , as the slaves took one bite, and refused to eat any more . Captain Bligh is determined to reach Tahiti and return with a hold full of breadfruit trees. When the ship sailed after a six-month stay on the island, Bligh's men mutinied , casting him and a handful of loyal crew members adrift with scant provisions and no chart. Bligh's incredible seamanship brought them safely to Timor after a voyage of 4000 miles. Fletcher Christian and the other mutineers sailed on to the island of Pitcairn. The mutineers' fate remained in mystery for 18 years until their island was discovered by an American whaling ship , they found one man , John Adams, with nine women and 23 children. What happened Fletcher Christian remains uncertain, some say he was murdered on Pitcairn island, but then there were reports that he returned safely to England . However the descendants live on Pitcairn island to this day.
Gindian

Gindian

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.
Jerdodov

Jerdodov

This is a fabulous movie. Sumptuous production, good screenplay, excellent performances, beautiful cinematography and a majestic musical score.

Story follows the crew of British Naval vessel 'The Bounty' on its mission to transport 'bread fruit' plants from Tahiti to Jamaica, as food for the slaves there. Unrest is almost immediate, with the Captain (Howard) and his first officer (Brando) disagreeing over the appropriate punishment for a sailor's minor infraction. Things only get worse during the voyage as the harsh Captain responds severely to anything that opposes his ambition to please the admiralty with a speedy voyage. The crew's time spent in the paradise of Tahiti (particularly with regard to the naked and willing women) fills them with such pleasure that the prospect of a return voyage under such cruelty is unbearable. Events finally reach a summit on the way to Jamaica, when a mutiny takes place and the Captain is set adrift with most of those in disagreement with the first officer. However, this is far from an absolution for both sides...

For many the film is measured by the performance of Marlon Brando in the lead role, and it is easy to see why. His first officer, Fletcher Christian, is unlike anything from him in memory; however, taken as it is: an effeminate, fair-minded character forced into an extreme dilemma, the result is a complicated man, extremely well played. Indeed, as the film progresses, Christian's predicament is increasingly sympathetic and it is to Brando's credit that he remains engaging throughout. His unexpected plea to his fellow mutineers at the end is an extraordinarily conceived and delivered moment in the film.

Trevor Howard plays Captain Bligh with poise and relish. The character is completely arrogant and utterly loathsome, but never less than believable. This villain is all the more frightening because his cruel methods never stray outside the 'official' Naval regulations, as he is keen to point out. Of the supporting players, Richard Harris' roguish Mills and Richard Haydn as the Royal botanist (and film's narrator) make the strongest impressions. Overall acting is very good.

Vivid use is made of the exotic island locations (on which a considerable time is spent) and the vast, isolating ocean vistas.

Overall impression is of grand scale and spectacle, but illustrated with the intelligence and humanity of the scenario. Near-perfect filmmaking in glorious, old-fashioned style!
Eta

Eta

As far as I can recall, 1962's Mutiny on the Bounty was one of the many matinee-films shown for many years during Christmas that I used to watch lazily as a kid while doing other things at the same time. I do not think I ever watched the whole thing from beginning to end. Consequently, I never found it too fascinating.

When I many years later decided to buy it on VHS and watch it concentratedly, I fell in love with it immediately. I have always been a fan of large-scale films like Ben Hur, Doctor Zhivago and Lawrence of Arabia and Mutiny is definitely a "large-scale" film. Not only boasting a wide variety of colourful locations, from breathtaking, sun-drenched sea vistas to exotic beachscapes on Tahiti, it also includes some great actors, such as Marlon Brando, Richard Harris and Trevor Howard as the despicable captain Bligh. Contributing to the "large-scale" feel is Bronislau Kaper's lush and magic music score, featuring haunting chorus statements of the main theme, interestingly entitled "Follow me". The music was so lovely that I had to try out the theme on the piano once I finished watching the film.

I suppose most readers of this post are already familiar with the basic plotline, so I will not have to go through that.

I find that the film contains quite a lot of nice dialogue that sticks in your memory. But it is above all the growing conflict aboard the ship that is the major interesting theme of the film. Just to see how the conflict between Bligh and Christian builds step by step, from more or less nothing to mutiny. Even though it is unpleasant, it is a delight to follow. In any case, it had me glued to the screen.

I cannot say whether the events are portrayed authentically as they happened historically or not, but to me that is of minor interest. The film comes out magnificent all the same and appear to me to be quite realistic.

Another thing about the film that appealed to me is that it is so beautiful. Not only are the locations beautiful, but a lot of the actors, their contemporary clothing, not to mention the Tahitian beauties, are simply eye-catching. The Bounty, the ship itself, is also quite something else. A lot of the film's beauty, I believe, also has to do with good photography thoughout. The film lends itself incredibly well to widescreen-viewing.

I would heartily recommend this film to any fan of cinema. It is a film filled to the brim with colour and spectacle with marvelous actors and a catching and disturbing story of power abuse and the British Empire in its heyday. The only disturbing thing at the moment of writing, is that it still has not been released on DVD. But when it is, I sincerely hope it comes in a deservedly magnificent picture- and sound-transfer including a mountain of extras. I simply cannot wait.
Blacknight

Blacknight

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.
Ynonno

Ynonno

Your website regarding Mutiny on the Bounty is well done. I know a lot about the movie because I helped to make it in Tahiti in 1960-1961. Iwas secretary to the writers, and "girl Friday" on the picture. A year in Tahiti with Marlon Brando was, and still is, most memorable. I am writing a book and including some of that experience. When I am set on he title I will come back and let you and your readers know. I loved the film because it captured the essence of Tahiti, both on the water and in the dance sequences. We had two trips to Tahiti because there was so much rain when the group from MGM was first there and we had to return to MGM in January and wait until the rainy season was over. Ia Orana. Suzanne
Risky Strong Dromedary

Risky Strong Dromedary

The 1962 remake of 'Mutiny On The Bounty' has received many scathing attacks from some of the most prolific film critics throughout the years. It has been regarded as an overlong, overblown epic, which boasted an outrageous performance from Marlon Brando as the heroic captain's mate, Fletcher Christian. I believe that these initial reviews have been nothing short of harsh.

The 1935 version boasted a superb cast and was then regarded as a epitome of the classic story film-making. It is now regarded as a slackly told adventure, yet highly entertaining. So when the remake was in production in 1960, the critics' began to relish the possibility of another "turkey". The 1935 version was still clear in the memory. The rumours of discontent on the set and other production follies only assisted in tarnishing the reputation of the movie long before it was even released.

This movie is in fact a highly entertaining sea story. It is sweeping and visually beautiful, with a haunting musical score from Bronislau Kaper. It is in my opinion that Brando's performance was a brave if unsuccessful attempt to show a different side of Fletcher Christian. Brando's performance expresses a hero who suffers personal turmoil with the problems he experiences on the HMS Bounty. It is also unfair that many English critics have leapt upon Brando's accent. I am Irish and I have to listen to a multitude of strange Irish accents from many classic movies. It is in my view that Brando's accent seems to be a genuine foppish English accent which may not have been too far removed from the truth. The real Fletcher Christian was only 22 years of age when the Bounty sailed and he was a renowned ladies man.

Trevor Howard's performance of the rogue Captain William Bligh is masterful, even if he was another over-aged star to take on the role (The real Bligh was only 33 years old). The other performances are excellent especially from Richard Harris, Tarita and Hugh Griffith.

This movie is no worse than the 1935 version. It does have faults, but it is a genuinely beautiful movie to watch. The 1962 version of 'Mutiny On The Bounty' is not a testament on the problems of remaking of a classic adventure movie but of the real fact that critics really do get their facts wrong.
Vudogal

Vudogal

Nominated for seven academy awards [1962] including Best Picture, "this spectacular movie of grandeur and intimacy, sex and humor, cruelty and nobility" (The Hollywood Reporter) stars two-time best actor winner Marlon Brando (The Godfather, On the Waterfront) as Fletcher Christian, a high-born English aristocrat and elegant gentleman turned Naval Lieutenant and able first officer, whose honor is inseparable from his humanity. Also in an impeccable performance, Trevor Howard's steely, sadistic Captain William Bligh commands by contempt, as malevolent toward his officers as to the crew he tortures. In idyllic Tahiti, exquisitely captured by Academy Award winner (Best Cinematography) Robert L. Surtees, Christian is seduced by Miamiti. She is portrayed by "enchanting Tarita, a 19 year-old native whose swaying hips find their own varying levels of audience appreciation." (Daily Variety). "Mr. Brando's steel-spring vigor when the patience of Fletcher Christian snaps and he whiplashes into the fateful incitement of mutiny is truly electrifying." (New York Times)

Complete with furious storms at sea, exotic native ceremonies, magnificent South Pacific island scenery, 6000 Tahitian extras, and a larger-than-life performance by the legendary Brando, this remake of the 1935 original Mutiny on the Bounty is one of the most exciting and visually astonishing adventures ever made. "A superb blending of direction [Lewis Milestone], photography and special effects" (Variety) this movie became an instant classic and still lives to this day as the best rendition of the re-telling of this true story. Very rich in visual imagery and complimented by a mesmerizing original music score (Bronislau Kaper), this film features some of the best dialogue and character portrayals of recent memory (too many to name here, but worthy of note is Hugh Griffith, Richard Harris, and Noel Purcell). Truly a classic in the true sense of the word, and a must see film for all connoisseurs of fine movie making! A superb motion picture! Excellent!
Erienan

Erienan

MGM's 1962 remake of their own 1935 Mutiny on the Bounty, makes the older film look hokey at best, and like an outright joke at worst. The newer version takes a far more realistic and honest look at every facet of the legendary mutiny. The movie potrays the two key characters in the story, Captain Bligh (Trevor Howard), and Fletcher Christian (Marlon Brando), as real men, and not like the cardboard cutouts as was the case in the 1935 version.

Howard's Bligh is brilliant, and not at all like the prancing cartoonish Charles Laughton version in '35. And when it comes to Christian, the protaganist of the mutiny, Brando makes an admirable effort to capture the essence of the the fopish and aristocratic character as portrayed in the Nordhoff and Hall book upon which both MGM "Bountys" are based. Brando becomes Christian, in the 1935 movie Clark Gable as Christian is just Gable as Gable, and that's that. Richard Harris as crew member Mills, is another solid portrayal in the 1962 movie.

Don't get me wrong, the 1935 movie's fun, but the 1962 movie is infinitely more impressive in all respects, especially its use of a real ship made just for the film, the awesome "shots" of life at see in the late 1700s, and of course the spectacular location filming in Tahiti.

1935's Mutiny on the Bounty, was a fine film in its day, but it doesn't stand the test of time, 1962's film stands that test. Is it a great movie, probably not, but it is a very good one. Considering that MGM did not deliver the ship on time for filming before the bad weather set in in Tahiti, MGM's firing of legendary director Carol Reed, and other miscalculations mainly attributable to producer Aaron Rosenberg, the film is a remarkable achievement.

The studio used an off-form Lewis Milestone as a replacement for director Reed. Once they decided that Reed wasn't their cup of tea, they just tried to slide by with Milestone, instead of securing the services of one of the many still vital directing greats working in the early 1960s. A movie of epic proportions like 1962's Mutiny on the Bounty, cried out for a William Wyler, a David Lean, or a Fred Zinneman, to take over the helm once Reed was canned.

When the movie didn't hit like gangbusters, MGM's publicity machine moved quickly to "sandbag" their star, and the lemmings of the early 60s entertainment press corps swallowed the studio's propaganda whole. It was open-season on Brando, and it was shameful, but anybody who has seen the movie and also read the book, knows that Brando's Christian is a very solid performance. I'm sure Brando was peevish and nettlesome at times during production, Trevor Howard says as much in his biography, but to blame Brando for the film's bloated final cost and its lack of epic earnings is ludicrous.

I love 1962's Mutiny on the Bounty, it should have been better, but its still one beautiful movie. It is an under-appreciated and highly underrated movie. I strongly recommend it, to me calling Brando and Howard's Mutiny on the Bounty of 1962, a minor film, as one IMDb movie fan recently did, is blasphemous. The truth is MGM, just fumbled the ball on Mutiny on the Bounty in 1962, despite all of their ineptitude during production, they still had what should have been a major hit. But they opened it as a road-show movie in just a few theatres nation wide instead of in as many theatres as possible like the studios do with all major movies today. Despite MGM's poor efforts 41-years ago, movie fans today can scoop up the old lion's fumble and enjoy this exciting high seas adventure/love story.

It took a better book, Richard Hough's "Mr. Bligh and Mr. Christian," to produce a better movie rendition of the true life Mutiny on the Bounty. That book was the basis for the magnificent, "The Bounty," starring Anthony Hopkins as Bligh, and Mel Gibson as Christian. Also adding lustre to that movie were Liam Neeson, and Daniel Day-Lewis.
Nafyn

Nafyn

When the legend becomes fact, film the legend (to adapt the famous quotation from The Man Who Shot Liberty Valance). The story is the well-known one of how a British naval crew, while on a voyage to transport breadfruit from Tahiti to the West Indies, revolt against their brutal and sadistic captain under the leadership of the humane first mate and sail off to make a new life for themselves with their Tahitian sweethearts on the remote Pacific island of Pitcairn. Historical evidence, in fact, suggests that Captain William Bligh was not particularly brutal or sadistic, but this film, like its 1935 predecessor, is a film based upon legend rather than upon strict historical fact.

The late 18th century is often described as the Age of Revolution, and as the Bounty mutiny took place in 1787, midway between the American and French Revolutions, there would have been an obvious temptation to play Bligh as a decadent aristocrat and Fletcher Christian, the leader of the rebels, as a man of the people, standing up for the Rights of the Common Man. The temptation to portray Christian as a proto-Jacobin is, however, firmly resisted. In this film, it is Christian who is the aristocrat and Bligh, ever insecure about his social status, who is from a humbler background.

This is sometimes regarded as the film which started the decline in Brando's reputation. In his previous film, One Eyed Jacks, which he had also directed, he had gained a reputation as an obsessive perfectionist, but, artistically, the result was a very fine film with an excellent performance from Brando himself. In Mutiny on the Bounty, however, Brando proved to be equally obsessive, but the resulting film is not quite in the same class. Moreover, Brando's performance is one of his weaker ones. Much of the criticism (on this side of the Atlantic, at least) has centred upon his British accent. In terms of phonetic sound-values, in fact, Brando's effort is quite a reasonable attempt at an upper-class drawl- the real Fletcher Christian, the son of a Cumberland farmer, would probably have spoken with a strong northern accent- but it always sounds strained and unnatural. This sort of linguistic accuracy is probably unnecessary in period dramas, anyway. We do not know exactly how people spoke in the 18th century, but the available evidence suggests that the difference between British and American accents was much less marked than it is today. I was struck by the contrast with another big American star playing a British naval officer, Gregory Peck in Captain Horatio Hornblower. Although Peck's accent still sounds American, it also sounds more natural and is less distracting to the viewer.

The main problem, however, is not Brando's accent, but rather the way in which his character is played. Christian is played not only as an aristocrat, but also as a languid, foppish dandy. Bligh accuses him of hating both effort and ambition, and there appears to be some justice in the accusation. For too long Christian remains a passive, emotionless character, so the clash of temperaments between him and Bligh remains a muted one. Only during the mutiny itself does he come alive. The idea was presumably to show that Bligh was such a tyrant that even a passionless fop could be roused to anger by his behaviour, but this conception seems to me to waste much of the dramatic potential inherent in the story.

Brando apart, however, I found this a reasonably good film. Trevor Howard's portrayal of Bligh as a tyrannical martinet may have been historically inaccurate, but it was certainly convincing. (Even so, I still think that the best of the three actors to play the part was Anthony Hopkins in the 1984 version, which portrayed Bligh in a less one-dimensional way. Clark Gable remains the best Christian). The film is attractively shot, especially the Tahitian scenes, and Lewis Milestone handles the direction in such a way as to ensure that the story does not drag, as it easily could have done in a film of this length. (The film takes three hours to tell a story that the 1935 and 1984 versions told in just over two). Although it is not quite as good as the 1935 version, it is still a very watchable epic of the sea. 7/10
Connorise

Connorise

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.
Mayno

Mayno

I grew up with this movie. It was one of maybe five movies that my family had back in the late 70's and early 80's. Even though I was probably way too young at the time to fully comprehend the story, I still loved this movie. When I was about 9 the tapes mysteriously disappeared from my house. I didn't see this film for years. About 8 years ago I was in a tape store and saw a copy. There it was, my favorite movie from childhood. I picked up a copy and went home to watch it. I was now going to watch it as an adult for the first time, since I was about nine. I still loved this film. Marlon Brando's portrayal as Fletcher Christian is still my favorite Brando role. Not since The Third Man has Trevor Howard been a character that you want to hate but cannot for some charming reason. Some people attack this movie because the original is "untouchable" and must only be praised. I have seen the original several times and I dare say that even though it is truer to the books, it is dreadfully boring. I have read all three of the books from the Bounty trilogy. I know that this film doesn't even come close to tell the real tale. I don't really care though. This movie is not a non-fiction movie or a documentary, it is an epic adventure of fiction with a true story as the basis. This movie is very entertaining. It is also very "Hollywood" but then again so are more than 90% of the movies out there. If you want to trash this movie for being untrue to the real story than so be it. If you want to be entertained for 3 hours by an exciting adventure, than this is a movie for you.
Aiata

Aiata

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.
Faehn

Faehn

I approach this film as I would a textual account of the events it claims to portray. As a researcher of the events of the H.M.S. Bounty, I feel confident in declaring that, while all of the Hollywood films are inaccurate, this one solidly deserve to be characterized as pure fiction. It even starts off with a howler,when Brando takes an immediate disliking of Bligh at their first meeting. In fact, Bligh took a liking to Christian and promoted him over Fryer as second in command. And as to the mutiny itself, the actions of the participants are not in the slightest doubt, and are 180 degrees at variance with the manufactured scenes in this movie. Bligh was only 34 years old, only a few years older than Christian. Nor was he, by any accounts, considered a cruel captain. The punishment he gave to the deserters on Tahiti were far milder than the usual execution prescribed by law. Nor was there any case of him denying water to a dying sailor. The entire film should be destroyed as an example of the slanderous murder of a good man's reputation. Hollywood has no ethics when it comes to historical accuracy - anything that sells they will film. They call it "dramatic license." What it is is plain old lying in order to make a buck.
Kit

Kit

Based on a true event, Marlon Brando plays one of his best roles as Fletcher Christian - the man who risked all he had and led the mutiny against the abusive and vicious captain Bligh (an extremely nasty Trevor Howard). The film is blessed with a larger than life cinematography in some of the most beautiful locations on earth. Brando has never looked better and here you could see why this man was considered a legend. Also look for a young Richard Harris as one of the sailors. The film also features some exotic looking women from Tahiti - most notable of course is the pretty Tarita (who became Brando's wife and had two children with him). It's a reminder of a time when they really made a big, and I mean BIG films who had a long lasting impact on you. Another thing should be pointed out for those of you who shy away from a long running time, at almost 3 hours, this film is gripping from the first minute to the last. A true classic that is highly recommended 10/10.
Nikobar

Nikobar

This is my favorite version of Mutiny of the Bounty, and I think it takes a very unfair pounding 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 superb 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. ***
Rich Vulture

Rich Vulture

The historical re-enactment of this eventful maritime voyage is superbly picturised, thereby rendering first hand knowledge of the colonial era navigational exploits.

Marlon Brando as Christian Fletcher has portrayed a perfect and robust characterization of a daring and humane British officer who would not give up or back out from his moral uprightness even in the face of animalish cruelty being inflicted on the seamen by the wretched captain of the ship.

The perfect and consummate styling of Brando's outrageous expressions and body language during the fight sequence culminating in the mutiny are remarkable. He has clearly outperformed the role of Fletcher in all respects who gave away the last measure of effort and sacrifice in salvaging the original mission. Brando's person excels on a sheer scale while emulating a rebellious and outward British seamen of high nobility. Besides, the screenplay and direction is worthy of to be watched. The island of Tahiti as well the Tahitians are enviably covered. The socializing and flirting with the natives bears the rendition of those times. Brando deserved an Oscar for the majestically charged historical portrayal of Christian Fletcher.

The truly magnificent appeal of this movie emerges on cinema screen in letterbox quality.
Nern

Nern

I have screened again tonight, in his memory, MUTINY ON THE BOUNTY (USA 1962) directed by Lewis Milestone. It is not a such commonly quoted movie in his filmography but it could be, all balanced in my memories of movie critic, his most wonderful performance of all : a deep and sharp "témoignage" - as we say in French - for humanity against inhumanity. I have screened that movie many times and each time I screen it, emotion and beauty are rising. Not only because of him : all the movie in all its aspects is reaching dramatic and aesthetic perfection. But mainly, if I should say so, because Brando manages, under the fine direction of this last Milestone directing work, during the first 157' of the movie, to bear on his shoulder the burden of humanity in front of a sadistic and inhuman being and to bear it in a rising tension till the breaking point - the mutiny itself. Rarely such part has been incarnated with such a talent and he overpasses the already memorable Gable's performance. Such a part was more difficult to play - according to me - than many of his acclaimed (and rightly acclaimed, of course)other previous and next performances.

Of course anyone who wants to know what is acting has to screen ON THE WATERFRONT, JULIUS CAESAR, his directing masterpiece western ONE-EYED JACK [I want to remind or let know its French beautiful exploitation title : LA VENGEANCE AUX DEUX VISAGES], THE GODFATHER, APOCALYPSE NOW and so many others.

Nevertheless, Brando will be forever ("à tout jamais") in my memory, the noble and human Lieutenant Fletcher rising for human value, alone and finally dying for preserving an idea of justice
Ces

Ces

I have been dealing with the mutiny on the Bounty for a long time. So I know what I am talking about. Now I have seen this movie and I am more than just disappointed. The film is so false in nearly every aspect. First of all here Christian and Bligh are immortal enemies from the beginning on, but that is completely wrong. Bligh even wanted Christian to sail with him, because the two of them were very good friends and trusted each other. Also Bligh was a very good Captain and was against corporal punishment (at least on the way to Tahiti). On the way to Tahiti only one man was punished (but he was not whipped!), and this happened on order of Fryer, and not Bligh. Also Christian wasn't arrogant at all, no, he was not even very self-confident. (Christian hadn't got greasy hair and he hadn't a firm look, his eyes were fearsome and he was very kind; and Bligh wasn't tall!) Also, he wasn't first Officer from the beginning, at first this was mister Fryer. But then Fryer and Bligh quarrelled a lot and so he made Christian his first Officer after Cape Horn. And Bligh only became more of a tyrant when he noticed that his men didn't want to leave Tahiti. The crew members never wore weapons on Tahiti and they had Tattoos made and merged totally with the Tahitians. Also the deserters were gone for three weeks and it was not Christian who captured them, it was Fryer. The personalities of Bligh, Christian, Fryer and the others are untrue and distorted. And Bligh, even if he harassed his crew on the way away from Tahiti, he never let his crew starving or dying of thirst or anything like that, and no one killed himself! Indeed, only two man died till the mutiny (Seaman Valentine, who was seriously wounded at Cape Horn; and the Surgeon, who died because of his alcoholism.) During the mutiny no one died. And nobody died because of Bligh, no one! That is just fiction! During the whole voyage only four man were whipped, the three deserters and the one who had let them go. Also Christian didn't want to start a mutiny, he wanted to steal a boat and sail back to Tahiti on his own, but when the others pressed him he agreed to lead the mutiny, because he was so desperate, because he was so much in love with Maimiti. And the mutineers started the mutiny at night and surprised the sleeping Bligh in his bed. No one was even wounded! Also the mutiny was a confused mess and Christian wasn't strong, like in the movie, only desperated and deeply wounded in his soul; it is also a fact that he threatened Bligh, who reminded him of their friendship, to kill him and than himself, if he wouldn't shut up. Christian himself (and most of the others) (not like in this film) didn't mutinied, because of Bligh's madness, he mutinied, because he wanted back to his wife. And he wanted her to come with him as much as she wanted to come with him, the two of them loved each other very much! It was all about love. And Bligh wasn't punished at all for his actions on the Bounty! Also Christian not just found Pitcairn per accident, he searched for it! And they destroyed the Bounty immediately after they arrived on Pitcairn and, though some felt sorry for it, all of them agreed to destroy the ship. Christian did not die by trying to rescue the ship soon after they arrived! No! All of them lived a peaceful life on Pitcairn for at least three years. Then a few of the white and all the Tahitians were killed, but then they lived in peace for many decades. No one knows for sure, what happened to Christian, but fact is he lived in peace on Pitcairn for at least three years. Only to list a few of the main mistakes of this movie, but there are more, many more mistakes.

If you want to see an authentic picture of the mutiny than I suggest "The Bounty" with Mel Gibson and Anthony Hopkins; not only that it is very close to the facts, also the persons (who did what and how they were) are truthful, and the actors fit exactly to the descriptions we have from each person of the crew. So you really get to understand both Christian and Bligh. And you learn what really happened! That movie is fascinating.

So, if you see this Brando-movie please don't believe that you know what the mutiny was all about. This film is completely wrong! And if you know just a little about the mutiny you know that it is. Bligh wasn't a senseless tyrant and Christian wasn't an arrogant hero. They were both victims of the circumstances.

Think of this if you watch that wrong film.
Preve

Preve

"Plant power is the treasure that buys a nation's independence and supremacy. Plant power means world power." - Donald Peattie

Lewis Milestone's three hour remake of 1935's "Mutiny on the Bounty" was torn to shreds by critics and shunned by audiences when it was released in 1962. To my eyes it's a bit more interesting than both the 1935 version (starring Charles Laughton and Clark Gable and regarded by many as being a "classic") and the brisker, 1984 version (directed by Roger Donaldson) of the same tale, thanks largely to actor Marlon Brando and some grand, Ultra Panavision 70 widescreen photography. Milestone, who specialised in epics, knew how to juggle expansive vistas and small scale drama. The film looks good.

One of the more idocyncratic films in a wave of anti-authoritarian flicks released in the early 1960s, "Mutiny" follows Charles Nordhoff and James Hall's famous novel closely, telling the now familiar tale of a mutiny on an 18th century British naval vessel en route to South America. Plot-wise, there are few surprises. The main interest is Brando, who plays Lieutenant Fletcher Christian and whose on-screen mutiny echoes both his off-screen antics and the film's many production difficulties. In real life, Brando ran amok, the film's budget sky-rocketed and Milestone struggled to organise, shoot and cut his behemoth.

You also see here Brando testing out a character he'd later play in Pontecorvo's "Burn!" and Coppola's "Apocalypse Now": the meta-mutineering actor. Brando's early roles - in which he became the poster boy of Method Acting and essentially made mumbling cool - tended to be contemptuous rebels. Tough guys who turned their noses up to everyone. As his career progressed he began to internalise this scorn and create a kind of performance which seemed to almost show contempt for even the production he's in. There's a seething disdain seeping from many of Brando's later films, a kind of jokey, self-reflexive contempt for having to "be here" "doing this". Then he'd grow fat and run off into the jungle. Which is not to say that Brando's performances aren't good, but that what people extol as brilliant Brando performances are often, brilliant yes, but brilliantly ridiculous, totally goofy performances in which you can almost see him turning his nose up to everyone. Indeed, Brando was renowned for not taking things seriously, sometimes performing without pants and even taping farting devices to chairs. Beyond this the film anticipates Brando's role in the underrated "Burn!". He played a bizarre British officer there, ten times as foppish as the one he plays here.

Like most films about the Bounty mutiny, Milestone's ignores the fact that the mutiny paled in comparison to the nature of the Bounty's mission to "capture" a couple thousand breadfruit plants for King George of England. One must remember that the British relinquished their power over the financially lucrative and strategically located North American colonies as a result of the American Revolution. This meant losing control of American exports. As the Dutch controlled a number of important supply lanes, it became clear that Britain was slowly being held commercially hostage by foreign powers. Determined to overcome the perceived mercantile trade dominance of the Dutch, French, Spanish, and Americans, the British decided that they should have free and easy access to agriculture commodities normally supplied by other countries.

Taking charge of agricultural supply lines meant the British Empire needed to do one of two things: control the country of product origin or grow the product themselves on land they already possessed. Choosing the easier route, they decided to begin commodity crop production (cotton, sugar, dye plants, spices, tea, coffee etc) on various Caribbean islands. As labour they'd use convicts, black slaves and eventually Indian indentured labours.

By the mid 1700s, a race was on to introduce new plants into the West Indies. The French were the first out of the gate, transplanting coffee to islands like Martinique. The British, meanwhile, were struggling to find suitable crops to transplant to the Caribbean. Their islands had limited space due to extensive sugar cane plantations. These problems were slowly overcome, however, and soon all the Empries were using the islands as food baskets, slaves growing huge amounts of crops that were then shipped up to the motherlands. The problem was, how to feed the slaves? Enter breadfruit, which the Empire believed would be the perfect super-food for their slaves. The crop was hardy, grew for most of the year, was nutritious, used little space and was very productive. All that was needed was for a ship to travel to Tahiti, pick up some breadfruit, and transfer it to the Caribbean. That was the HMS Bounty's job. Which she did. Pretty soon breadfruit was growing all over the Caribbean. Problem was...the slaves refused to eat it.

In "Cultural Symbols and Human Values on Taste Evaluation," author Michael Allen claims that taste is also based upon cultural and symbolic messages through what he calls "self-congruity theory." This is just a fancy of way of saying that consumers prefer foods with "symbolic meanings" that are congruent with their "self-concept." Product choice results from the self-concept, not the other way round (feedback loop: theory precedes behaviour, behaviour precedes belief?). In this case, breadfruit was the symbol that represented the English, slavery and oppression. Breadfruit was slave food. To like breadfruit was to admit submission to British authority. In order to maintain a sense of dignity and self, the non-whites refused to accept the newly introduced slave symbol. Indeed, more than half a century passed before breadfruit became "popular to local tastes." By that time, in 1834, emancipation had been declared in the British Empire and no food carried the stigma of "slave food." At that point, about fifteen million slaves had already reached the Americas. Today it's over twenty times cheaper to hire a third world worker than it was to own a slave in 1865.

8/10 - Underrated.
Gir

Gir

See this film, if not for the grande scenes at sea, for the fantastic section in Tahiti, in the middle of the film. Truly a gem. Here is a taste of the experiences which made Brando fall in love with Tahiti (and consequently spend a great part of the rest of his life there, eventually purchasing an island chain). Brando spent twenty two hours of each day, in breaks from shooting, swimming and sleeping with the beautiful Tahitian extras (This and many other glorious stories may be found in his memoir Songs My Mother Taught Me).

Brando adds much-needed humour to this story - aside from some very funny lines, he has a lot of fun putting on an upper-class english accent.

If its Mutiny stories you like, however, i'd recommend The Caine Mutiny with Humphrey Bogart and Fred MacMurray over this. Its a bit overlong, and the quest for the breadfruit isn't enough to keep sidling along. Whenever action gets slow, i noticed that the weather would suspiciously choose to flare up. This must have been a dreadful inconvenience to the little gardener, whose plot-precedence it kept hijacking.

If you're a Brando afficionado, however, i would recommend this one - he's very good in it, and a lot of fun too. The scenes in the island paradise from around sixty to ninety minutes were a treat to watch, and to be recommended to anyone with a head.
Oveley

Oveley

This movie, nominated for Best Picture, was under-rated, probably because of Brando's supposed behavioral problems on the set. They changed directors and I'm amazed this film is as good as it is. Brando is great as a foppish Fletcher Christian until Mutiny time when he becomes manly and wrestles power from Trevor Howard. Great production values, beautiful cinematography and able support from Richard Harris (who wanted to choose off Brando), Trevor Howard, and others.

A 7 out of 10. Best performance = Marlon Brando. To see this on a big screen back then was very impressive. Don't avoid this one because of the bad press. A worthwhile film.
Thordira

Thordira

I haven't seen the original and I can't make comparisons. All I can say is that I found this remake well-made and very entertaining - at least three times better than "Ben-Hur". It's way overlong but genuinely exciting at times (and even ONE genuinely exciting sequence in a movie is a rare thing), and well-mounted. Brando's performance is excellent: he's like a time-bomb, and when he finally explodes, it's a really terrific moment.