Mutiny on the Bounty

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

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

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

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

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

It's fair to say you are a Captain disciplined, and you like to see subordinates lose skin, the cat o' nine tails is a smash, as they're beaten, whipped and slashed, filling your sails with such an overwhelming wind. If all else fails you go the distance and keelhaul, dragging the guilty of just what on a long trawl, prevents the crew from going soft, like rotten food they have to scoff, although you never hear the sounds, of their death squall. Although this time it seems you've pushed the boat too far, Fletcher Christian takes his chance to fight and spar, your ejected and cast-off, mutinous rabble will pay the cost, as you're left to drift for weeks, under the stars.

Charles Laughton is sublime.

If you've never seen one of the three major film versions of the famous mutiny-and therefore have no knowledge of the plot-the opening credits of the 1935 film will give you a pretty fair warning of what is about to happen. I've seen all three versions, 1935, 1962, and 1984, and this version has quickly become my favorite.

Charles Laughton, the famously strict Captain Bligh, leads a two-year voyage from England to Tahiti to procure breadfruit plants and bring them back. His second-in-command, Fletcher Christian, is played by an un-mustached Clark Gable. At first, Gable supports his captain and tries to get the crew to behave and obey their commanding officer to avoid his horrible punishments. But when Laughton repeatedly brutalizes his men for small or nonexistent infractions, Gable leads a mutiny and takes over the ship.

I know Clark Gable was called "The King", but he really wasn't a good actor. Please, nobody throw anything at me, and hear me out. He was very handsome, made girls swoon by taking his shirt off in most of his movies, and had a powerfully confident presence onscreen. But his acting consisted of shouting or smirking, with exception to The Misfits. When you watch Mutiny on the Bounty, it's as if you're watching Rhett Butler on a boat. He's exactly the same.

My criticisms of Clark Gable aside, the rest of the movie is very good! The character of Captain Bligh has to be so much more than just strict and unreasonable. He's obviously a mass of problems, otherwise he wouldn't act the way he does, and in Charles Laughton's interpretation, those problems are written on his brow. He broods, wants to be better than he is, and craves order and respect for deep reasons, and it's obvious without being melodramatic. But it's Franchot Tone who steals the show in his performance. He's the most likable character, and he delivers so much passion into his lines, whether he's interacting with Tahitians and creating a dictionary, falling in love, or finding a balance between loyalty to his captain and to his friend. I like him anyway, but I've never seen him pour so much of himself into a role as in this film.

All three leads were nominated for Best Actor for 1935, and the only nominee who wasn't in Mutiny on the Bounty took home the gold that year. As for the Hot Toasty Rag Awards of 1935, the film swept Best Picture, Best Director, and Best Actor for Franchot Tone. This epic was remarkably made in 1935, and it still stands the test of time today.

If you can, keep an eye out for James Cagney, David Niven, and Dick Haymes, as one of the dozens of extras in the film. I never found them, but you can give it a shot. This is very much a man's movie, but I enjoyed it immensely. The characters and production values kept me riveted even past the end!

Few stories have stirred the imagination as much as the infamous mutiny aboard the HMS Bounty, in 1789, and this movie captures the spirit of that historic event very well.

Clark Gable stars without his trademark mustache (and British accent) as Fletcher Christian, the officer in charge of the mutiny. Fortunately, his performance as Christian was strong enough so that the average viewer would overlook that particular flaw (unlike Kevin Costner's turn as Robin Hood in 1991's "Robin Hood: Prince of Thieves").

Franchot Tone's portrayal of Midshipman Roger Byam was sympathetic, as he appeared to be more of a witness to the events than a participant. Byam's plea for reforms in the British Navy at the end of his court martial put a cap on a memorable performance. It should be noted that one of the factors in creating the Best Supporting Actor/Actress categories at the Oscars undoubtedly came about as a direct result of this movie, with three men nominated for Best Actor. If Best Supporting Actor had existed, Tone would have been up for (and likely received) Best Supporting Actor.

And then there's Charles Laughton. As Captain Bligh, Laughton made the most of his scenery-chewing role. Fortunately for him, the open-boat sequence added depth to his character, avoiding the cliché of Bligh being a cruel and inhuman sea captain. Unfortunately for him, his likeness graced cartoons and magazines for decades as a depiction of controlling and maniacal leaders.

While watching this movie, I began to notice a few plot points that Herman Wouk must have used for his novel "The Caine Mutiny". For example, Byam sees a tall ship and asks if it's the Bounty, but the Bounty is a smaller ship behind it; likewise, Ensign Keith spots a proud new vessel and asks if it's the Caine, but the Caine sits beyond, a small minesweeper full of rust. Captain Bligh obsesses over two wheels of missing cheese; Captain Queeg turns his ship upside-down over a few pounds of strawberries. And both Bligh and Queeg believe the whole crew of their respective ships are against them, even going so far as to conjecture a conspiracy theory based upon half-heard (and innocent) conversations. By the way, I am not trying to discredit "The Caine Mutiny" in any way; both the novel and the 1954 movie (starring Humphrey Bogart) are classics in their own right, and I recommend both reading the book and seeing the movie.

"Mutiny On the Bounty" is a well-made movie, with one of the best musical scores I have heard. When I heard the violins sweeping into the theme music at the opening titles, I knew right away I was in for a good time. Strong performances, great camera work, a well-written script, and an astounding musical score. All in all, this is a movie worth seeing!

Based on the then-popular novel by Charles Nordhoff and James Norman Hall, the 1935 MUTINY ON THE BOUNTY is among a series of legendary films of the 1930s that have been repeatedly celebrated for cinematic achievement. And small wonder: the film has a host of powerful assets.

The single most obvious among these is the star power involved: led by two Oscar-winning stars, the critically formidable Charles Laughton and the incredibly popular Clark Gable, the cast reads like a Who's Who of mid-1930s male actors ranging from leading man Franchot Tone to the memorable character actor Donald Crisp. In a visual sense, the film is also a knockout: filmed on location in a full-size replica of the Bounty, it set a new standard for capturing the sea on film. And the story itself is powerful, the tale of the battle between the cruel and autocratic Bligh and the humane and populist Fletcher Christian. Taken together, it makes for a powerful ride.

Still, some viewers may not find MUTINY ON THE BOUNTY all it is cracked to be. Then as now, Hollywood was less interested in getting the facts right than in telling a good story--and from a factual point of view the film is perhaps twenty percent accurate and eighty percent nothing more nor less than historical tarradiddle. That is no real hindrance per se; after all, we're not watching a documentary. But seen from a modern standpoint the cast now feels somewhat problematic.

Charles Laughton was so critically well regarded that he received star billing over Clark Gable for the film, and seen today his performance is easily the single most powerful in the entire film. Autocratic, brilliant, and immediately and increasingly unlikable, he drives the film from start to finish--and it is here, really, in which most of the film's historical accuracy resides. The rest of the cast, however, is extremely Hollywood. Clark Gable, Franchot Tone and all the rest give an excellent show, full of power and drive--but you never for a moment forget that they are indeed Hollywood stars and not members of the British Navy.

This is very much a "big" film in the MGM tradition, often brilliant, often memorable, and often setting new standards for the motion picture industry. And when regarded from that point of view it is extremely, extremely entertaining. But it may also be a film whose power has slightly faded with the passing of time.

Gary F. Taylor, aka GFT, Amazon Reviewer