The Bounty

Directed by Kiwi Roger Donaldson, The Bounty, starring Mel Gibson and Anthony Hopkins, is based on the infamous true story, about the friction between Captain William Bligh, and first mate, Fletcher Christian, which led to the mutiny of the title Naval ship, Bounty. This has been filmed twice before, the other two films, Mutiny on the Bounty, in 1932, and later, under the same name, in 1962. Both versions are lush and extensive, hut this version, starring Mel Gibson and Anthony Hopkins in the leading roles, is the most visceral and realistic of the three.

Filmed in bold colour and with an atmospheric and moving score by Vangelis, the perfect backdrop is set for a grand and powerful drama. Ultimately, this story is about a clash of wills; that of the ship's captain, William Bligh, a harsh and sinister character, yet Hopkins plays him with compassion and depth, leaving the viewer wanting to know more about what lurks beneath his rigid and unfathomable face. This versus the energetic and mysterious character of Fletcher Christian, ally and friend of Bligh to start with, until pressures of the journey, including unorthodox methods of discipline  by Bligh and trying to round Cape Horn amongst stormy squalls, also Bligh's idea, and a longer than anticipated spell on the Polynesian island of Tahiti, turns the friendship sour.

This film is never dull. Ultimately it is a study of the two main protagonist's opposing natures, and of a friendship tested to the max, under the worst of conditions. Hopkin's plays Bligh with a subtlety under which a sinister faucet lurks. Mel Gibson's Fletcher Christian is played with energy and aplomb, with a minimum of dialogue Gibson portrays Christian's mysterious and spirited nature through facial expression and subtle body language. He conveys much whilst saying little, the nuances of his slight movements are sublime. The dialogue between Hopkins and Gibson is sparse, and the film is all the stronger for this. Less is sometimes more, and it works here. Little is said between the two, but there is much to be gleaned just from facial muscles and passing looks.

The supporting cast is wonderful also, with Liam Neeson playing the roguish sailor Churchill and Daniel Day Lewis as the disagreeable and rigid original first mate, John Fryer. Daring to question the wisdom of trying to round Cape Horn in the face of atrocious weather, he is soon replaced by Bligh with the more robust and bolder, fledgling
Fletcher Christian. This is the first step of disharmony on the ship, and with Bligh's increasingly bizarre behaviour, mutiny is soon not far behind. Gibson plays  Christian as a reluctant and thoughtful mutineer, where there is no killing allowed, and the whole thing is acted out with as much dignity and politeness as the situation allows. There is a high point here, with Gibson at the pinnacle of his craft,' I am in hell sir, I am in hell.' This is a standout, unforgettable and intense scene.

The story is a grand adventure from start to finish, the photography is stunning whilst the score is steeped in high atmosphere. Thrilling from beginning to end, a study in contrasting personalities, man against the elements, dignity under duress, with stunning acting and awesome sets, the flashback style of the film suits also, with Sir Lawrence Olivier and Edward Fox as Bligh's naval superiors adding spice, colour and humour to the film overall, and the long portion set in Tahiti is lush, delightful and highly alluring. One can understand the magical spell this place cast upon its so called civilized visitors from England. Bligh can hardly stand the place and spends much of his time on the anchored ship, whist Christian embraces and grows to adore it, as do most of the crew.

 The scenes in Tahiti add a further dimension to the film, like a colourful yet well refined character. Sensual and vivid, Tahiti indeed looks like a modern paradise, especially compared with the starchy England of the time. Maybe even the real cause of the mutiny? Definately a deciding factor.
To be enjoyed with a creamy cappuccino, drawn out and with a large chunk of forbidden dark chocolate on the side. Yum!