{"id":11774,"date":"2015-07-09T01:41:33","date_gmt":"2015-07-09T05:41:33","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=11774"},"modified":"2015-07-09T02:03:36","modified_gmt":"2015-07-09T06:03:36","slug":"retelling-the-saga-of-the-bounty-1984-take-me-to-pitcairn-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=11774","title":{"rendered":"Retelling the saga of The Bounty (1984) + Take Me to Pitcairn (2013)"},"content":{"rendered":"

\"Bounty1984_poster\"<\/a><\/p>\n

 <\/p>\n

Twilight Time\u2019s Blu-ray release of Roger Donaldson\u2019s filming of The Bounty<\/a> <\/strong>(1984) is the third of several film versions (which I\u2019m slowing crossing a master list), and probably the most satisfying, since Anthony Hopkins\u2019 William Bligh is less pouty and shrill, and Mel Gibson\u2019s Fletcher Christian is more of a youth overcome by extraordinary events and circumstances.<\/p>\n

Preferring the 1984 version to the 1962<\/a> Brando or 1935<\/a> Clark Gable films doesn\u2019t take anything away from those efforts because they\u2019re also indicative of their times, just as a new retelling had to offer something fresh \u2013 more truth, more facts, less melodrama, and more period accuracy.<\/p>\n

I love all three for various reasons: Gable and Laughton are a great match in MGM\u2019s big broad production with dynamic visuals, score, and editing, whereas the Brando and Trevor Howard version is massive in visual scope, but there\u2019s something refreshing in seeing less clich\u00e9s and starchy archetypes, stunning location cinematography, and a Vangelis score that still suits the film, giving it a brooding quality during the darkest and subtlest moments of conflict.<\/p>\n

\"Bounty1984_BR\"<\/a>There\u2019s also more conflicts at play in the 1984 film \u2013 Daniel Day-Lewis is really the de facto villain, being smarmy, power-tripping, and a weasel as Bligh\u2019s former first mate \u2013 but there\u2019s no denying the power of the 1962 film with its extraordinary budget, explosive colour, and rhapsodic score by Bronislau Kaper (especially his highly dramatic Main Title music).<\/p>\n

The beauty of having key three films made almost 30 years apart of each successor is there\u2019s a version for personal preference: thirties romanticism, sixties classicism and Ultra Panavision big screen big sound, and modern revisionism where no one\u2019s perfect, but bad shit just happens.<\/p>\n

\"TakeMeToPitcairn_poster_s\"<\/a>I\u2019ve paired The Bounty<\/strong> with a gem of a short by Julian McDonnell, which seemed to have finished the festival circuit and is available on Vimeo and YouTube.<\/p>\n

Take Me to Pitcairn<\/a><\/strong> (2013) has the director journeying to the remote isle where Christian and his fellow mutineers escaped, settled, and died. It\u2019s one of the most isolated rocks in the world, and there\u2019s only one way to access it: by boat, and bloody carefully.<\/p>\n

Coming next:<\/em> a set of soundtrack reviews, and a few documentaries, including one on a nutty device called a Dreamachine, and two docs by Alex Winter.<\/p>\n

 <\/p>\n

 <\/p>\n

Mark R. Hasan<\/strong>, Editor
\nKQEK.com<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Reviews of the ever-enigmatic saga of The Bounty (1984), new on Blu from Twilight Time + Julian McDonnell’s witty documentary Take Me To Pitcairn (2013).<\/p>\n","protected":false},"author":1,"featured_media":11775,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6],"tags":[3431,2562,2563,3764,3767,3770,3769,3773,3774,449],"jetpack_featured_media_url":"https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2015\/07\/Bounty_Gibson_pic_featured.png","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-33U","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11774"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11774"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11774\/revisions"}],"predecessor-version":[{"id":11785,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11774\/revisions\/11785"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/media\/11775"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11774"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11774"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11774"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}