Boxoffice (Oct-Dec 1962)

FEATURE REVIEW 'Mutiny on the Bounty^ Metro-Goldwyn-Mayer By PRANK LEYENDECKER QNE OF THE greatest, most exciting and liighly dramatic sea adventures everwritten, “Mutiny on the Bounty” comes to the screen for a second time in a magnificent motion picture which has all the elements of violence, romance and thrills, plus incredibly beautiful scenic splendor, to fascinate and enthrall moviegoers of all ages. It should be one of the all-time boxoffice hits. One of the two most-publicized pictures of recent years (20th Century-Fox will release the other) as regards excessive costs, production difficulties and delays due to bad weather and temperamental clashes between cast members and the director during the many, many months of filming, this Aaron Rosenberg production stiU emerges as a cinematic triumph. And all the publicity, good or bad, will only whet the public’s interest to see the picture and judge for themselves if all this extraordinary effort was worth it. The title alone, plus Marlon Brando’s tremendous draw, will guarantee smash grosses generally. Coming 27 years after the release of MGM’s original film version, which won the Academy Award as best picture of 1934-35, this new production in Ultra Panavision 70 and Technicolor, should all but erase any nostalgic memories held by the old-timers and, to today’s generation of moviegoers, it will be a terrific and wholly new action spectacle. First and foremost, this version of the Charles Nordhoff and James Norman Hall MUTINY ON THE BOUNTY MGM Running time: 179 minutes, plus 10-15 minutes intermission Ratio; 70mm Ultra Panavision CREDITS Produced by Aaron Rosenberg. Directed by Lewis Milestone. Screenplay by Charles Lederer. Based on the novel by Charles Nordhoff and James Norman Hall. Music by Bronislou Kaper. Filmed in Ultra Panavision 70mm. Technicolor. An Areola Picture. Orchestra conducted by Robert Armbruster. Director of photography, Robert L. Surtees. Additional photography, Harold E. Wellman. Art direction, George W. Davis and J. McMillan Johnson. Soecial visual effects, A. Arnold Gillespie, Lee LeBlanc and Rabert R. Hoag. Film editor, John MeSweeney jr. Assistant director, Ridgewoy Callow. Choreographer, Hamil Petroff. Color consultant, Charles K. Hagedon. Technicol advisers, Copt. Donald MacIntyre, R. N., Bengt Danielson and Aurora Natua, Leo Langomazino. THE CAST Fletcher Christian Marlon Brando Captain William Bligh Trevor Howard John Mills Richard Harris Alexander Smith Hugh Griffith William Brown Richard Haydn Matthew Quintel Percy Herbert Maimiti Tarita Edward Young Tim Seely Edward Birkett Gordon Jackson William McCoy Noel Purcell John Willioms Duncan Lament Michael Byrne Chips Rafferty Minarii Frank Silvera James Morrison Keith McConnell Somuel Mock Ashley Cowan J'.hn Fryer Eddie Byrne and Henry Daniell, Matohiarii Tamo, Rahera Tuai, Ruita Salmon, Nathalie Tehore and other Tahition natives. Trevor Howard, Marlon Brando and Percy Herbert in one of the action scenes from “Mutiny on the Bounty.” Richard Harris and Gordon Jackson are in the background. sea classic has its basis on historical fact and Charles Lederer has retained all the force and realism of the novel while enlarging on the episodes in Tahiti, both before and after the mutiny takes place. After a few minutes of Bronislau Kaper’s sweeping and stormily melodic musical score, the picture opens on preliminary scenes in Spithead harbor in 18th Century England, which lay the groundwork for the clash between the lowly born disciplinarian. Captain Bligh, and his elegant, idealistic first mate, Fletcher Christian. The spectators’ eyes remained glued to the screen during the thrilling episodes that follow, including the flogging of the hot-tempered seaman, John Mills, and the Bounty’s riding through one of the most furious storms ever recreated for a tremendous screen, a wavelashing which almost makes the spectator feel he is actually participating in this gigantic tempest. Among the picture’s other memorable moments are the ship’s arrival in Tahiti, as dozens of small boats row out to meet the saihng vessel; the native ceremonies and sexy dances for the benefit of the British visitors and their water-threshing method of catching fish — all of these Tahitian customs being brilliantly captured in Ultra Panavision by Robert L. Surtees’ fine camerawork. The torturing of the seamen which leads up to the actual mutiny and the climactic burning of the sailing vessel and Christian’s tragic death are other thrill highlights of this memorable film. The occasional romantic scenes are tenderly handled and act as pleasant interludes between the predominantly exciting action. Although Charles Laughton’s portrayal of Captain Bligh in the 1935 film is still fondly remembered by many, Trevor Howard’s performance of the steely-eyed, tyrannical commander is equally fine and the British star gives it even more authority and brilliance — a prime requisite for Academy Award consideration next spring. Another British actor, Richard Harris, also gives an outstanding performance as the mutinous seaman, John Mills. The third star and the film’s top boxoffice name, Marlon Brando, is far too foppish and nasally British in his early scenes as the dandified Fletcher Christian — to the extent that his portrayal elicits unintentional laughter from the audience — but his performance gradually builds in strength until his climactic scenes are impressive and even touching. While director Lewis Milestone was probably unable to curb Brando’s too-broad histrionics, he guided all the others to give noteworthy performances, particularly Hugh Griffith, who contributes several fine moments; Percy Herbert, Chips Rafferty and Gordon Jackson to make their every scene count; Richard Haydn to subdue his customary whimsical touches for the serious role of the mild-mannered botanist while the bearded Noel Purcell supplies the picture’s few lighter moments. Tim Seeley does nicely in a minor romantic role while the lovely Polynesian Tarita supplies scantily clad pulchritude and a touch of tenderness — and her undulations during her native dance will make male patrons’ eyes pop. Here is a new — and greater “Mutiny on the Bounty,” which should do hurricanetype business in theatres throughout the world. Seven Disney Features For 1963 Release NEW YORK— Walt Disney Productions will put seven features into release through Buena Vista Distributing Co. between Christmas of 1962 and the end of 1963, according to Irving H. Ludwig, president and general sales manager of BV. Starting with “In Search of the Castaways,” starring Hayley Mills and Maurice Chevalier with George Sanders and Wilfrid Hyde White, which will open at the RKO Palace December 25 and throughout the country for the Christmas-New Year’s period, the 1963 releases will include: “Son of Flubber,” starring Fred MacMurray and Nancy Olson, in February; “Miracle of the White Stallions,” starring Robert Taylor, Lilli Palmer and Curt Jurgens, for Easter; “Savage Sam,” starring Brian Keith and Tommy Kirk, in JuneJuly; “Summer Magic,” starring Hayley Mills, Burl Ives and Dorothy McGuire, in August-September. There will also be a Disney film for October, ordinarily a bad period, and then “The Sword and the Stone,” an animated cartoon feature dealing with King Arthur, for December 1963. Melvin H. Jacobs Elected Technicolor President LOS ANGELES — Patrick J. Frawley jr.. chairman of the board of directors and chief executive officer of Technicolor, Inc., announced the election of Melvin H. Jacobs, as president of Technicolor, Inc. Jacobs, one of Technicolor’s largest stockholders, heads its Marshall-Burns division. The former president, John R. Clark jr., becomes a consultant to Technicolor, Inc. and remains as a director. Maximilian Schell in San Francisco SAN FRANCISCO — Maximilian Schell has arrived in San Francisco to attend the San Francisco International Film Festival in conjunction with the entry of his film version of “Hamlet,” being shown today (12). 14 BOXOFnCE :: November 12. 1962