Bligh is played by Anthony Hopkins in one of the most interesting performances of 1984: He is unyielding, but not mindlessly rigid; certain he is right, but not egotistical; able to be realistic about his fate and his chances, and yet completely loyal to his ideas of a British naval officer's proper duties. When Fletcher Christian leads a mutiny against his command, it is not seen simply as a revolt against cruel authority (as in the earlier movies) but as a choice between a freer lifestyle, and Bligh's placing of duty above ordinary human nature.
Every Bounty movie seems to shape its Fletcher Christian somewhat to reflect the actor who plays him. Gable's Christian was a man of action, filled with physical strength and high spirits. Brando's was introverted and tortured. Mel Gibson's is maybe the hardest to figure of the three. He is a man of very few words (the screenplay gives him little to say, and almost no philosophizing), quiet, observant, an enigma. Only in the arms of the woman he comes to love, the Tahitian girl Mauatua, does he find the utter simplicity that perhaps he was looking for when he went to sea. It is a decision of some daring to give Gibson so noticeably little dialogue in this movie, but it works.
This "Bounty" is not only a wonderful movie, high-spirited and intelligent, but something of a production triumph as well. Although this third "Bounty" film was originally conceived as a big-budget, two-part epic to be directed by David ("Doctor Zhivago") Lean, the current version was prepared and directed after only a few months' notice by a talented young New Zealander named Roger Donaldson, whose previous credits included the brilliant "Smash Palace," a critical hit and commercial failure. What's interesting is that Donaldson's film doesn't feel like a secondhand treatment; he directs with flair and wit, and the spectacular scenes (like a stormy crossing of the Cape) never allow the special effects to steal the film away from the actors.
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