Raymond Longford's Mutiny of the Bounty 1916

| Mutiny of the Bounty 1916 | In the Wake of the Bounty 1933 |

Fletcher Christian apprehends Captain Bligh

Contents

1. Introduction
2. Posters
3. Production details
4. Script 
5. Chronology 
6. Stills
7. J.D. Williams and Crick & Jones 
8. References

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The greatest of all Australian pictures (Port Adelaide News, 23 March 1917)

1. Introduction

One of the most famous adventure stories of the 18th century concerned the mutiny on board HMS Bounty, under the ship's captain Lieutenant William Bligh (1754-1817) and led by Master's Mate and Acting Lieutenant Fletcher Christian (1764-1793). It took place on 28 April 1789 and saw Bligh and 18 of his crew cast off the ship and forced to sail a small boat 3,600 miles west to Indonesia, whilst the mutineers took the Bounty to Tahiti and then on to Pitcairn Island, where it was scuttled and burnt. Those left on the island were 9 Englishman, 6 Polynesian men, and 12 Tahitian women.

Robert Dodd, Fletcher Christian and the mutineers set Lieutenant William Bligh and 18 others adrift, 28 April 1789, aquatint on paper, 1790.

The story of the mutiny spread throughout the Western world and for some reason received especial interest in colonial Australia. The first film on the subject was the 5 reel (100 minute long) Mutiny of the Bounty, released in 1916. It was directed by Raymond Longford and co-written with his wife, the actress Lotte Lyell. The story is told in five parts:

1. The mutiny on HMS Bounty in 1789
2. Captain Bligh's journey back to England
3. The recapture of the mutineers on the island of Tahiti, and
4. The story of the remaining mutineers on Pitcairn Island.

The film is now lost, unfortunately, like so many Australian film from that time, though reports of its production and release are known and reproduced below. Another film on the story of the mutiny, though this time a shortened docudrama called In the Wake of the Bounty (66 minutes long), was made in Australia by Charles Chauvel and released during 1933. It was famous for being the first film to feature Errol Flynn. This was followed by a number of Hollywood productions, all together including the following:

1. Mutiny of the Bounty (1916), directed by Raymond Longford, 100 minutes;
2. In the Wake of the Bounty (1933), directed by Charles Chauvel, 66 minutes docudrama;
3. Mutiny on the Bounty (1935), starring Charles Laughton and Clark Gable, 132 minutes;
4. Mutiny on the Bounty (1962), starring Marlon Brando and Trevor Howard, 178 minutes; and
5. The Bounty (1984), starring Australian Mel Gibson and Anthony Hopkins, 132 minutes.

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2. Posters

Two insert posters are known for Mutiny of the Bounty. They were stone lithograph posters printed by Jno. Evans & Son Printing Co. Sydney. Their size was 14 9/16in x 39 3/8 inches (37 x 100 cm). Both are illustrated below. One features Bligh and his crew as they row away from the Bounty following the mutiny.

Source: National Film & Sound Archive of Australia.

Crick & Jones, MacDonell House, Sydney, were film agents Stanley Saddler Crick and John Corbett Jones of Pitt Street, Sydney. Jones also printed film posters, as noted above. The second poster features an image of George Cross as Captain Bligh. 

 

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3. Production details

Title: Mutiny of the Bounty

Producers: Crick & Jones. American J.D. Williams operated under this title in the Antipodes. He also operated the J.D. Williams Amusement Company which was a film exchange and, for example, promoted Mary Pickford's Tess of the Storm Country in July 1914.

Director: Raymond Longford

Assistant Director: Lotte Lyell

Screenplay: Raymond Longford and Lottie Lyell

Cinematographers: Franklyn Barrett, A.O. Segerberg and Charles Newham.

Locations: Spenser Studio, Sydney; Rotorua, New Zealand; and Norfolk Island.

Editor: Lotte Lyell. Later supervised a recut of the film for the British market.

Length: 5 reels / 5,000 feet of 35 mm black and white nitrate film

Duration: 100 minutes @ 16 frames per second. A version listed on the CSFD.cz site is stated as running 55 minutes.

Cast

• Gwil Adams - Mrs Elizabeth Bligh
• Mere Amohau - Mere (Maori)
• Harry Beaumont - Samuels
• Reginald Collins - Midshipman Heywood
• Ernesto Crozetto - Midshipman Hallett
• George Cross - Captain William Bligh
• D.L. Daziel - Sir Joseph Banks
• Ada Guilford - Mrs Heywood
• Lotte Lyell - Nessie Haywood
• Leah Miller - Baby
• Wilton Power - Fletcher Christian
• John Storm - King George III
• Meta Taupopaki (Taupopoki) - Otoo (Maori)
• Charles Villiers - Burkett / Burkitt

Release dates:

• 2 September 1916, Hoyts Theatre, George Street, Sydney
• 27 September 1916, Crown Theatre, Wellington, New Zealand
• 4 December 1916, Paramount Theatre, Melbourne
• 28 March 1917, Wondergraph Theatre, Adelaide
• 5 November 1917, Majestic Theatre, Perth

Releases: Australia and New Zealand.

References: Edmondson & Pike, Pike & Cooper #133, IMDb.

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4. Script

The original 13 page typed script for The Mutiny of the Bounty dated 22 February 1916 is with the National Archives of Australia collection, Canberra, in the following file:

* Raymond Hollis Longford, The Mutiny of the Bounty [manuscript], typed draft film script / synopsis (13p) plus official and legal correspondence (21p), National Archives of Australia, Canberra, Series: Applications for Literary and Dramatic Copyright, file no. A1336/4799, 22 February 1916 - 22 January 1936, 34p.  

The 13 page long script can be summarized as follows, with 66 scenes listed and described in blue ink, alongside title card text in red ink: 

1. Introduction re pictures of Mitchell Library archives
2. Buckingham Palace room with Bligh, King and Banks prior to voyage of Bounty
3. Palace exterior
4. Bligh and wife at home
5. Bligh interviews officers
6. Bounty leaves England
7. Crew inspection on deck
8. Bounty leave port
9. Wives waving goodbye
10. Pink sunset of ship at sea
11. Bligh's tyranny at sea
12. Deck of Bounty
13. Arrive at Otahiti island
14. Natives watch Bounty approach
15. Natives leave beach for Bounty
16. Bounty watches natives approach
17. Bligh lands on beach
18. Chief and daughter meet Bligh, plus crew
19. Bligh examines breadfruit plant
20. Gathering breadfruit and loading in boats
21. Island night life - dances and sailors with native girls, including Christian with chief's daughter
22. Bounty crew muster to leave Tahiti
23. Final mustering
24. Bligh on Bounty sends men to look for deserters
25. Men with native women hiding and captured
26. Men flogged on Bounty
27. Bligh accuses men of stealing from him
28. Planning the mutiny 
29. The mutiny 
30. Bligh sees island 
31. Bligh's boat at sea 
32. Suffering on Bligh's boat 
33. Bligh sights island 
34. Bligh lands on island 
35. Bligh leaves island to escape 
36. Bounty returns to Tahiti 
37. Bligh arrives at Timor 1789 
38. Mutineers outside chief's hut Tahiti 
39. Christian 
40. Burke and chief's daughter plus Christian fight
41. Chief's hut 
42. Christian with lover 
43. Mutineers and natives on beach before departure 
44. Christian's partner runs away 
45. Woman running 
46. Woman dives into water 
47. Christian reunites with lover. Bounty sails away.
48. Bligh arrives home 1790
49. Bligh reads log and writes letter
50. Garden with Haywood and Bligh letter
51. Building huts on Pitcairn 
52. Burning of the Bounty 
53. Pandora at Otahiti to arrest mutineers 1791 
54. Prisoners in chain at court 
55. Court martial
56. Four men freed 
57. Some mutineers pardoned
58. Woman and son
59. Three mutineers hung on HMS Brunswick 1792
60. Pitcairn - Native women at work 
61. Conflict between mutineers and Tahitian men 
62. Tahitian men get guns 
63. Tahitian men kill mutineers 
64. Revenge of the women 
65. Pitcairn islanders removed to Norfolk Island 
66. Norfolk Island and two descendents. End  

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5. Chronology

“Lottie Lyell was my partner in all our film activities” (Raymond Longford, n.d.)

The following is a chronology of the making of the 1916 film, based on newspaper and film magazine reports.

1915

* 11 March 1915, Guyra Argus, Why we don't get Australian pictures. This story was published in papers around Australia and mentions Raymond Longford, the building of the Cousen Spenser studio in Sydney for £8000, and the story of the Mutiny of the Bounty having been written for film and able to be made at a cost of £20,000, but unfortunately restricted by the control of foreign studios.

1916

* 22 February 1916 - Raymond Longford submits the 13 page typed draft script of The Mutiny of the Bounty to the Commonwealth department responsible for the registration of copyright. Refer under 1935-36 for the outcome of this process.

* 25 February 1916, Commonwealth of Australia Gazette, issue 47 - reporting of the copyright application:

4799. Raymond Hollis Longford, "Glenwood," Ocean street, Woollahra, N.S.W. — Cinematograph Production: "The Mutiny of the Bounty." 25th February, 1916.

* April 1916 - Filming begins on Mutiny of the Bounty.

* The Moving Picture World, New York, 22 April 1916, 611:

Raymond Longford, a prominent director here, is at present working on a production which, it is stated, will be the longest picture yet made in Australia, running into eight or nine reels. Mr. Longford has not made public any statement regarding his venture, but it is rumored that the subject will deal with a page in Australian history, probably the landing of Captain Cook. Monsignor Cerretti, formerly with the Ambrosio Company of Turin, Italy, is cameraman.

* The Moving Picture World, New York, 29 April 1916, 787:

Raymond Longford, a most capable producer, with many fine Australian pictures to his credit, is at present engaged on a big dramatic feature, expected to run into six reels. The company is leaving Sydney this month for New Zealand, for some special scenery.

* 24 June 1916, Herald, Melbourne:

Messrs Crick and Jones expect to release shortly a film based on the Mutiny of the Bounty. Mr Raymond Longford, the film's producer, has taken some trouble in examining records in the Mitchell Library, Sydney, which deal with the incidents connected with the mutiny and the subsequent developments at Pitcairn Island. An expedition was despatched to Tahiti where many scenes were secured, in which the Islanders figure. Just now the company, which is headed by Mr George Cross, is at Norfolk Island, for the purpose of getting certain locations. An interesting climax is provided by a flash of two descendants of the original Pitcairn Islanders enlisting in Sydney.

* Motion Picture News, New York, 15 July 1916, 14(2), 253.

Raymond Longford, Ernest Crosettis and a company of players including Lottie Lyell, returned from a trip to New Zealand where they have been filming scenes in connection with their next big feature. During the several months they have been in that country they were successful in fine weather, and in consequences have obtained some very fine effects. Rotorus was the chief location, although the executive offices were maintained in Auckland. The remainder of the scenes will be taken in and around Sydney

* The Billboard, 22 July 1916, 28(30):

Australian Feature Film

Has Romantic Historical Background, Introducing Native Acting

Sydney, Australia, July 13 - The first Australian feature film production, The Mutiny of the Bounty, made under the personal direction of Raymond Longford, is ready for the market as an especially interesting piece of picture work.

* Motion Picture News, New York, 22 July 1916, 14(3), 423.

Further information to hand elicits the fact that the production now nearing completion by Raymond Longford, and his assistant director Ernest Crosetti, will be titled "The Mutiny of the Bounty," and is being made for Messrs. Crick and Jones of this city. "The Mutiny of the Bounty" is an episode in English history dealing with a party of men sent out into the Pacific for the purposes of exploration, under command of Captain Bligh. On an island in the Pacific the sailors mutineered and despatched the captain and his followers in an open boat. Subsequently the party in the small boat rowed three thousand miles, and reached the Island of Timor. Raymond Longford has woven a story around these, and other happenings, and up to the present time has completed over four thousand feet. A farewell was given to the company in New Zealand preparatory to their departure by the Maoris.

* The Moving Picture World, New York, 5 August 1916, 965:

Raymond Longford, a prominent Australian picture producer, has returned with his large company of players from New Zealand, where they have been filming a historical subject. The working title of this picture is "The Mutiny on the Bounty," and its length will probably be eight reels. It deals with an early incident in Australian history, the mutiny of the crew of the ship "Bounty," carrying Governor Blight from England to New South Wales. The story gives many opportunities for spectacular displays and the picture should mark a new era of production in Australia.

* 27 August 1916, The Sun, Sydney:

"PRODUCED IN AUSTRALIA"

Far too rarely is the above device seen on the title of a film. It is strange that with all its natural advantages this country should have lagged so far behind in movie production. As Mr. Eslick pointed out when "The Mutiny of the Bounty" was privately screened at the Tivoli on Friday, 90 per cent of the money spent on films here goes out of the country — no less than £400,000 a year, helping to further swell the profits of what is today the fourth industry of the United States. As for "The Mutiny of the Bounty," Messrs. Crick and Jones must be given every credit for their plucky endeavor to turn out a real Australian film, and Mr. W. Longford for his accuracy in detail and the exactitude with which he has followed history, as far as the exigencies of drama allow. Still, it would perhaps be better were local movie production less ambitious. The industry must walk before it can run, and producer, photographer, and actors must become so accustomed to their medium that they can always carry certainty In their touch — the unerring recklessness of the master-hand. If we regard "The Mutiny of the Bounty' as the first attempt of Australia to turn out an elaborate picture, we must feel well satisfied. But if we simply regard it as a film to meet the best imported products on even terms, we must recognise that we still have much to learn.

A few years ago a one-reeler, "The Wire Tappers," with Irby Marshall in the star part, was screened by West's. It was not only creditable, it was quite equal in production, photography, and acting to any thing of the sort we get from America. Yet for some reason Australia didn't go on turning out short meritorious films of this type. It did nothing for a long time; then aimed high without having served the necessary apprenticeship. Possibly the best local film hitherto made was "The Maori Maid's Love," also Mr. Longford's work.

Apart from its historical interest, the story of the Bounty has little public appeal. The love interest; the human Interest, is weak. The acting of George Cross as Bligh, Wilton Power as Christian, and Charles Villiers as Burkitt — especially that of the first named — is good, and there are a number of remarkably well-arranged scenes of island life. But the women are weak. Mero Arnohau, the Maori girl Who marries Christian, is not beautiful; neither can she act. The photography in places could be better; in others it falls short. That Is the trouble. The Americans have grown so used to handling their machinery that it never goes wrong. They have done that by working up to big things. That is what Australia must do.

"The Mutiny of the Bounty" will be shown at Hoyts.

* Motion Picture News, New York, 2 September 1916, 14(12), 1384. Report that three films are after Sydney Town Hall for use in regard to the release of film, including Mutiny of the Bounty.

* 3 September 1916, Sunday Times, Sydney:

MUTINY OF THE BOUNTY PRAISED BY PUBLIC MEN

Hoyts of George-street made a good move in purchasing the sole rights of The Mutiny of the Bounty, for they have been congratulated on all sides on the excellence of the production. It has elevated Australian films to the level of those imported, and that the public is pleased is born out by the letter to the producers of appreciation from well-known representative men.

The Honorable Secretary of the Australian Historical Society expressed his opinion as follows: 'Allow me to express the thanks of the many members of the Australian Historical Society whom you so kindly invited to attend the private exhibition of Mr Longford's production of The Mutiny of the Bounty. The pictures were much appreciated by the representatives of the Society, not only because of the technical skill shown in their production (though it is pleasing to think that Australian workmanship is capable of such excellence) but also because of the accuracy observed in the presentation of historical detail. I have long held that cinema-photography, rightly handled, would prove a valuable educational instrument, and so far as the teaching of history is concerned, your excellent production has amply demonstrated the soundness of this view. The lecture accompaniment, too, was a pleasing and valuable feature of the exhibition. I trust that you will experience sufficient public support to enable you to continue the good work you have started, and produce other Australian historical topics with the same scrupulous regard for historical accuracy as characterises The Mutiny of the Bounty. Kindly convey my congratulations to Mr. Longford. — Yours faithfully, K. R. CRAMP, Hon. Sec. P.S. I was pleased to see that one of the members of our Society had a finger in the pie. I refer to Mr. Wright, of the Mitchell Library.'

The secretary of the Pioneers' Club gave the following verdict: 'I had the pleasure of accepting, through the Hon. R. J. Black, your invitation, and saw your picture. It brings the reality of the story very forcibly before me, and gives me an idea of what the strenuousness of those days really was. I can recommend it to all interested in the early days of this new world. I have visited the descendants of these people in Norfolk Island, and now much better understand them. I am sure you deserve the greatest credit for having preserved an episode in human existence in such a natural and taking manner. — Yours truly, J. LETHBRIDGE KING, S.M., Hon. Sec, Pioneers Club.

The Past-President of the Australian Historical Society was pleased, for he wrote: 'I have pleasure in taking this opportunity of congratulating you on the production of your new film, The Mutiny of the Bounty. The characters are all true to life, particularly the conception of the character of Captain Bligh, which was well sustained, and afforded an excellent idea of the kind of man he was. Your choice of Wentworth's old home as a setting for some of the most stirring events of the piece was a happy one, and gave it just that old-world touch which proved so attractive. All the scenes are well acted, and the pictures leave nothing to be desired. I can prophesy a long and successful career for the play, and you are to be commended for your choice of a subject which is so essentially Australian, and it should appeal to all lovers of Australian history. — I am, yours faith fully, FRANK WALKER. Past-President, Australian Historical Society.

The Mutiny of the Bounty was screened at Hoyt's yesterday, and will continue all this week.

* 3 September 1916, The Sun, Sydney:

AUSTRALIAN TALENT FOR THE MOVIES

Messrs. Crick and Jones, who have just successfully launched the first Australian historical picture, "The Mutiny of the Bounty," now being shown at Hoyts, are desirous of ascertaining what local talent is available in Sydney for their future productions, now in course of preparation. With this object in view, they have completed arrangements with their director, Mr. Raymond Longford, to select the most promising and suitable applicants from those who are desirous of becoming proficient of moving picture acting. Ladies and gentlemen who are anxious to take tuition are advised to call on Messrs. Crick and Jones, Macdonell House, Pitt-street, for particulars and terms.

* Dominion, New Zealand, Volume 10, Issue 2887, 27 September 1916, 3.

"MUTINY OF THE BOUNTY."

The Mutiny of the Bounty a picture based on Commander Bligh's log, was privately screened at the Crown Theatre yesterday afternoon, before an audience interested commercially in pictures. The picture is an interesting record of a very thrilling incident on the high seas in the days when Australia was regarded as a repository for the criminal class o! England.

* 30 September, Goulburn Evening Penny Post: Advertisement.

* Motion Picture News, New York, 7 October 1916, 14(14), 2210.

"Mutiny of the Bounty"

Raymond Longford's feature production of "The Mutiny of the Bounty" is to be screened at the Sydney Town Hall for a season shortly. This picture is reckoned to be the most elaborate production made here yet, and has taken over eight months. This picture is at present placed in a very curious position. For some unknown reason the exhibitors and several exchanges of this country have passed a resolution that will mean the boycotting of the production. However, as one member of the trade puts it, "The whole movement may mean a little bit of free advertising for the producers." At any rate, for the sake of local production, and "The Mutiny of the Bounty" in particular, we hope so.

* The Billboard, 7 October 1916, 28(41), 59:

Mutiny of the Bounty

The first screening (private) of the above film was given at the Tivoli Theatre, Sydney, Australia, Friday, August 23. The picture was produced by Raymond Longford and photographed by Frank Barrett and C. Newham for Crick & Jones, which is a name under which J.D. Williams is trading in the antipodes. The Mutiny of the Bounty is a famous historical incident of the South Seas, the story of which is so widely known in Australia and New Zealand that the film is expected to do munition-plant business.

* 16 October 1916, Northern Times, Newcastle:

THE STRAND.

The name of Spencer has always been identified with the encouragement of Australian film production, consequently it is not surprising to find that to-day the Strand programme has for its chief attraction an all Australian production, entitled 'The Mutiny of the Bounty.' The basis of the film, as its name implies, is taken from the historical facts of the famous mutiny, and the cast responsible for the work contains the names of many clever personages closely identified with the Australian stage. The supporting drama is 'Ambition,' starring Bertha Kallich, which is sufficient guarantee of its worth.

* Motion Picture News, New York, 28 October 1916, 14(17), 2685-6.

The long awaited local production, "The Mutiny of the Bounty," arrived and was screened for one week at the new theatre, Hoyts. Announced as purely a historical film it was rather a surprise to find that Director Raymond Longford had worked a love story into the picture. The story of the picture is founded on facts culled from the log of Captain Bligh, which is now in the Mitchell Library, Sydney. Bligh was sent out to secure plants, etc., from the islands of the Pacific Ocean in the year 1772, and on board the Bounty he took with him a crew of forty-six. Arriving at one of the islands Bligh's crew became infatuated with the native girls and refused to leave with the captain. He succeeded in getting them out to sea but they mutinied and dispatched him with seventeen men in an open boat, then returned to the island. Bligh succeeded in reaching Timor after a long and trying voyage, while Christian, leader of the mutineers established a settlement on Pitcairn Island. Bligh reached England later and a ship was sent after the mutineers, the leaders of whom were executed. Into this story Longford has worked a slight romance among the native girls which although bordering on melodrama is acceptable, inasmuch as it serves to add interest to the historical scenes. The camera work is fine and the tinting of some of the scenes although a little overdone, makes the picture highly acceptable. George Cross, who plays Captain Bligh, is one of our best actors, slightly Farnumlike in appearance. His performance as Bligh is one of the best characterizations the screen has seen. With the exception of Charles Villiers, D. A. Dalziel. and Wilton Power, the majority of the cast are too camera-conscious, particularly the Maori girls. Cricks and Jones are handling this five reeler.... Hoyts limited have secured exclusive first run rights to the Fox films for this city. When the "Mutiny of the Bounty" was screened at their theatre last week, a benefit performance was given to the school children and 2,000 youngsters attended with the result that it was necessary to put extra police in charge to reorganize the delayed traffic.

* Auckland Star, Volume XLVII, Issue 259, 30 October 1916, 2.

QUEEN'S THEATRE.

Something of a sensation in Auckland picture circles has been caused by the showing of the picture called "The Mutiny of the Bounty," at the Queen's Theatre. The film is a remarkable one, admirably well staged and acted, and telling the story of a well-known incident of the latter-part of the eighteenth century. As most people are aware, His Majesty's Ship "Bounty," commandered by Captain Bligh, was homeward bound from Tahiti, when the crew mutinied, and put the captain and several others in a boat, which reached land after a long and adventurous voyage of several hundred miles. The mutineers took wives in Tahiti, and sailed away to Pitcairn Island, where their descendents still live, bearing the names of the men who achieved this notoriety. The story is one that lends itself admirably to dramatic portrayal by means of the cinematograph, and the makers of the film showing at the Queen's Theatre have made the most of the opportunity. The tragic story extends over five reels of film, and the makers have spared neither expense nor trouble in making the picture worthy of its subject. The programme includes several other films, including the usual humorous element and a topical gazette.

* The Moving Picture World, 4 November 1916, 708:

"The Mutiny of the Bounty," a five-part picture produced by Raymond Longford, is easily the best historical subject yet produced in this country. The story, which is taken from an event in the early history of Australia, makes a very good picture, and the acting is consistently good, especially that of George Cross, who plays the leading character. The photography is a special feature of the production, containing some of the finest artistic work I have seen in any production, American, English or local. It is understood that negotiations are under way for the release of the picture in America.

* Free Lance, 16(853), New Zealand, 10 November 1916, 12.

Australian motion-picture companies from time to time have produced some fairly creditable pictures, but the Australian Vita Company have eclipsed all other productions by their excellent historical photo-play "The Mutiny of the Bounty." Raymond Longford has evolved a strong dramatic story of great interest from the historical records in the Mitchell Library Sydney, and has freely used some of the beauty spots of New Zealand as the background for much of the action. The full company were in the Rotorua district for some time, and the Maoris were found to be excellent substitutes for Tahitians. The picture has been highly praised by the press as being a proof that the Antipodes can turn out equal work to England and America.

* Motography, New York, 11 November 1916, 16(20), 1105.

"The Mutiny of Bounty," produced in Australia by Raymond Longford for the Cricks and Jones organization, has been released in Sidney. Not in the history of the industry in Australia has there been a picture that has come up to the standard of this production. The main plot of the story deals with the adventurous journey of two thousand miles in an open boat by Captain Bligh and a number of the "Bounty" crew, across the ocean. The great majority of the locations were secured in New Zealand, famous for its excellent beauty spots. The whole play with good photography scored a decided hit. "The Mutiny of the Bounty" had its premiere at Hoyts Theater, and being endorsed by the educational department as a fine historical subject, 2,000 school children were given the liberty of witnessing the initial screening.

* 1 December 1916, The Argus, Melbourne:

Paramount Theatre
Commencing MONDAY NEXT, DECEMBER 4,
The Greatest of All Australian Pictures,
THE MUTINY OF THE BOUNTY.
THE MUTINY OF THE BOUNTY.
THE MUTINY OF THE BOUNTY.
THE MUTINY OF THE BOUNTY.
THE MUTINY OF THE BOUNTY.
THE MUTINY OF THE BOUNTY.

A Page In Duly History of Enthralling Interest to Every Australian.

Every Phase of a Great Adventure Graphically and Thrillingly Portrayed.

A Photo-Play taken at great cost and with great attention to detail, upon the exact locations on which the story was created.

THE MUTINY OF THE BOUNTY.

Our maritime history has been often illustrated by tales of fortitude and endurance, and it would be difficult to discover a parallel to those which are to be found in the episode recorded in the narrative of "THE MUTINY OF THE BOUNTY." The story is one of brutal tyranny and oppression, of violent passion, of murderous revenge, of masterful ascendancy, of unions begun of lust, and ending in pure affection; of a community originating in crimes and nursed in lawlessness giving to the world the one and only real example of a golden age.

The Mutiny, originating as it did, must be attributed to the character and conduct of William Bligh (her commander). With many fine qualities, he had in him some repulsive defects. His later career as Governor of New South Wales showed that even when his object was excellent, his method of obtaining it was bad. Fletcher Christian's starting a Mutiny was undoubtedly an act of madness - the act of a man maddened by the conditions. Awful as the Mutiny was, there is some reason to believe that there was no deliberate intention of depriving Bligh and his l8 companions of their lives. Food sufficient for five days was put into the boat, and it would have been sufficient to have allowed them lo reach one of the neighbouring islands. But on reaching Tofoa the natives attacked the boat's crew, killing one of the men, and Bligh hastily put to sea, and started on that most marvellous of all voyages of shipwrecked mariners of 3,618 nautical miles in a small open boat, which feat he accomplished in 41 days after leaving "The Bounty", arriving at Timor on Sunday, 14th June, 1790.

* 2 December 1916, The Herald, Melbourne:

The Mutiny of the Bounty, an Australian production, will be screened at Paramount Theatre in Monday's change of programme. The film was directed by Mr W. Longford for Messrs Crick and Jones, and is probably the most costly production yet made in Australia. In selecting the stirring episodes associated with the historic mutiny on H.M.S. Bounty, and tho subsequent happenings which resulted in the establishment of the turbulent colony at Pitcairn Island, the producers secured a subject with a strong appeal to the adventure-loving Australian. To obtain convincing local color for sections dealing with island incidents, an expedition visited New Zealand, and remained there for some time. There the services of Maoris were fully availed of, and two clever players in Meta Taupopoki and Mere Amohau appear as Otoo, a Tahitian chief, and his daughter. Mr George Cross has the role of Captain Bligh, who, with a number of loyal adherents, was turned adrift in an open boat by Fletcher Christian's followers. Other artists associated with the Australian stage appearing in the production are Miss Ada Guildford, Charles Villiers, and Miss Lottie Lyell.

* 4 December 1916, The Herald, Melbourne:

MUTINY OF THE BOUNTY

History in Pictures

Probably the most sensational chapter in Australian history, the story of the Mutiny of the Bounty, was presented at the Paramount Theatre today. It is rich in adventure and romance, and shows tho grim side of the mutiny over which the lapse of time has thrown the halo of romance. The incidents in the career of the men of the Bounty are reproduced with historic faithfulness, the photographs [cinematography] being by Messrs F. Barrett and C. Newham and the film is produced by Mr Raymond Longford. The production is Australian throughout, and is a marked example of how cinema photography can be made a valuable educational instrument in the teaching of history. In five reels this gives " holler grasp of the strenuous spirit of the early days than could be obtained from the reading of many hooks. It is 0110 of a series which Messrs Crick and Jones, a new Australian picture-making firm, has entered upon. The part of Captain Bligh is acted by Mr George Cross, and the acting of the cast, together with the line photography gives the picture a strong artistic appeal.

The story of the Bounty begins in 1787, when some merchants and planters in London send the small ship Bounty, under Lieutenant Bligh, with a crew of 44, to the South Pacific Islands to obtain bread-fruit trees for introduction into the West Indies, when the Bounty was among the Friendly Islands, a portion of the crew mutinied, took the officers by surprise, turned them and the loyal members of the crew adrift in an open boat, and went to Tahiti. The scene in which Fletcher Christian, the head of the mutineers, seizes the ship is remarkably well done.

Carrying on the story, the film shows the return of the Bounty to Tahiti. But the place did not long continue a paradise on earth, for the conduct of the white men offended the natives, and they soon exhausted their welcome. Sixteen of them remained on the island, but Christian, with nine men, sailed away in the Bounty. Bligh, after severe privations, reached the Dutch settlement of Timor, and a ship was sent to search for and punish the mutineers, and 14 of those who had remained at Tahiti were captured. The warship Pandora was wrecked with the prisoners on board, but 10 of them reached London after many adventures; six were sentenced to death, and three wore executed.

For 20 years nothing was heard of Christian and those who had sailed with him in the Bounty from Tahiti. Then the story was revived by the report of the captain of an American ship that had discovered the last of the survivors of the mutineers at Pitcairn Island. For some reason the Government did not act upon it. However, some years later, in 1814, H.M.S. Briton and H.M.S. Tagus, while sailing in the Pacific, sighted unexpected land. The morning light showed that they were approaching a fertile coast with habitation. People crowded the beach mode signs, and then launched their canoes. When they reached tho ship's side, to the captain's surprise a voice in English said, "Won't you throw us a rope? What ship is this?" The men were asked to come aboard, and at once asked, "Do you know William Bligh in England?" and "Do you know one named Christian?" This at once told the captain that he was to hear something of the last scenes of the tragedy of the Bounty. "Well," said one of the speakers, "That is Christian's son in the next boat. His name is Thursday October Fletcher Christian. His father is dead." The young man was 28 years of age, with black hair and flashing eyes, and standing 6ft. high. All he wore was a loin cloth and an old straw hat adorned with cocks' feathers. His mother was a Tahitian woman, and he was the first child born on Pitcairn Island, where Christian and his companions accompanied by their native children had settled after leaving Tahiti.

When Fletcher Christian had left Tahiti in search of an uninhabited island, he found Pitcairn. As there was no anchorage for the ship, he had burnt it so that she might not attract the attention of passing vessels. Then he formed a settlement, but during some dissensions was shot. John Adams turned religious instructor, and was held in great respect by everyone on the island. Later on the population became too great, and the inhabitants removed to Norfolk Island, but about 40 of them returned to Pitcairn, which is today a part of the British-Empire.

1917

* 5 January 1917, Tingha Advocate:

An extraordinary attraction at
THE PEOPLE'S PICTURES
Public Hall, Ruby-Street, Tingha
ON
Saturday Next, Jan. 6th
The First Page of Australian History : From the official records of the Mitchell Library, Sydney

The Mutiny of the Bounty

Commenting on this picture, the 'Australian Bystander' says: — As an educational film, The Mutiny of the Bounty is of exceptional value. It is the sort of production that every school child should.see. The photography is excellent, and Ray Longford, the producer, has given us something to equal the best American features.

* Hawera & Normanby Star, New Zealand, 14 March 1917, 8.

WORLD'S PICTURES.

"MUTINY OF THE BOUNTY."

"The Mutiny of the Bounty" the most important Australasian film, picture yet produced, is more than a photo-play, as it commemorates one of the most remarkable of all Anglo Australasian episodes. Produced by Raymond Langford, an Australian, the picture is said to compare favorably with the best American and English films. Striking scenic effects from the beauties of the New Zealand bush have been cleverly introduced, and a capable company of leading artists portray in a most convincing manner the historical personages of the story. The story is one of brutal tyranny and oppression, of violent passion, of murderous revenge, of a community originating in crime and nursed in lawlessness actually ending in social conditions worthy of a golden age. "The Mutiny of" the Bounty" will be shown to-night, to-morrow afternoon, and to-morrow evening [at the Opera House].

* 24 March 1917, The Mail, Adelaide:

Mutiny of the Bounty

Coming to Wondergraph

"The Mutiny of the Bounty," an Australian subject, will be screened at the Wondergraph for one week, commencing at the matinee next Wednesday. The film was directed by Mr. W. Longford for Messrs. Crick & Jones, and is probably the most costly production yet made in Australia. In selecting the stirring episodes associated with the historic mutiny on H.M.S. Bounty, and the subsequent happenings which resulted in the establishment of the turbulent colony at Pitcairn Island, the producers secured a subject with a strong appeal to the adventure-loving Australian. To obtain convincing local colour for sections dealing with island incidents an expedition visited New Zealand, and remained there some time. There the services of Maoris were fully availed of and two clever players in Meta Taupopoki and Mere Amohau appear as Otto, a Tahitian chief, and his daughter. Mr. George Cross has the role of Captain Bligh, who, with a number of loyal adherents, was turned adrift in an open boat by Fletcher Christian's followers. Other artists associated with the Australian stage appearing in the production are Miss Ida Guildford, Charles Villiers, and Miss Lottie Lyell.

* The Moving Picture World, New York, 7 April 1917, 1075:

J. D. Williams (Crick and Jones), who left Sydney for the U.S.A. by last mail, took with him copies of the Australian-New Zealand production, "The Mutiny of the Bounty," which was produced by Raymond Longford. This picture is considered one of the best of recent productions, and should compare very favorably with the average American production.

1926

* 12 November 1926, Call, Perth:

MUTINY! A QUEER COINCIDENCE

Raymond Longford, director of "The Hills of Hate," a Union-Master Picture to be released shortly, has learned that coincidence plays a great part in the motion -picture business. When Longford was directing a version of the mutiny of the Bounty in New Zealand some years ago, he had cause to warn an old brig away from the inlet where the sequences showing the parting of the mutineers with their island wives prior to their being shipped back to England on the "Pandora," were being "shot." When the scenes were finished, the director signalled to the brig, which was waiting, that all was clear, and as it made its way into the inlet the company saw that it was the original "Pandora" — a veteran of the seas.

1929

* Longford Quits Australia: Indicates Government Interference, Everyones, 10(475), 27 March 1929. Makes reference to The Mutiny of the Bounty as Australia's "first costume picture."

1935-1936

* Longford seeks information from the relevant government department regarding his copyright over the film. He is informed that he had transferred all rights to Crick & Jones back in 1916, and that copyright in the film was never officially secured as per the official process. This required the supply to the relevant government department of a photograph from each of the 66 scenes. Refer Langford 1916-36.

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6. Still photographs

Whilst no footage of Longford's Mutiny of the Bounty is known to have survived, two insert posters and a number (15) of photographic stills record elements of the production.

Wilton Power as Fletcher Christian

Fletcher Christian with sailors, soldiers and natives.

Mere Amohau (Mere), George Cross (Captain Bligh) and Meta Taupopoki (Otoo).

Fletcher Christian and a native woman plus others.

It should be noted that the native people seen in the photographs and representing Tahitians were actually Maori, taken during filming in New Zealand, and in some instances possibly in Sydney at the Spenser studio.

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6. J.D. Williams and Crick & Jones

In 1909 a group of Americans "discovered' the Australian film market and set up business there, forming the public company Greater J.D. Williams Amusement Co., which by 1912 had a Photo Plays Ltd. branch with £500,000 capital, and an Amusement Company with £200,000 capital, amongst others. In January 1916 it was presenting films such as The Martyrdom of Nurse Cavell at the Lyric Theatre in Sydney, in association with the Australian Famous Feature Company of MacDonell House, Sydney. The latter was the same address of Crick & Jones, who were mentioned as booking agents in a later January advertisement.. 

Williams worked in Australia through to early 1917 when, after marrying an Australian and being involved in the making of Mutiny of the Bounty, he returned to the United States, with copies of that film seeking to sell its US rights. He remained there a began a successful career in production and securing stars such as Charlie Chaplain and Mary Pickford. 

Whilst in Australia his precise association with Crick and Jones, the makers of Mutiny of the Bounty, is not clear. Did he provide some of the possible £20,000 needed to make the film? Why did he take copies to the US, and what happened to those copies? As there is no evidence that Longford's film was released there, it is clear nothing happened.

In a 30 June 1921 article on Crick in the Melbourne cinema magazine Table Talk, we are informed: .... he has been associated with the Greater J.D. Williams Amusement Co., though no specifics are given. In The Mirror of Australia, Sydney, on 20 January 1917, the following is noted, including text from an American report:

J. D. Williams

In this city of knockers there is no one, perhaps, who has suffered more at the hands of those who simply repeat what they hear than J. D. Williams. When he left Sydney this time the usual crop of rumors sprung, up. I heard another batch through the week, and think that the following may be interesting and help to alleviate some of the knocking of a man who has more genuine friends than most people imagine. Here is the clipping: 

'J.D. Williams ........ is expected at San Francisco almost daily. Mr, Williams helped David C. Jeffrey, of Minneapolis, materially to force a settlement of the latter's claims in Australia, and as soon as he had accomplished his aims proceeded to arrange for his American trip. He will probably dispose of the American rights of his great Australian success, 'The Mutiny of the Bounty', while here, and may perhaps arrange to represent certain big American interests in the Antipodes.'

In it interesting to note therein that Mutiny of the Bounty is "his great Australian success " and that Williams was looking to sell the US rights upon leaving Australia. This would indicate that he was one of the producers and funders of the film, perhaps alongside Crick & Jones.

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7. References

Chauval, Charles, In the Wake of "The Bounty" - To Tahiti and Pitcairn Island, Endeavour Press, Sydney, 1933, 157p.

CSFD.cz, The Mutiny of the Bounty 1916, CSFD.cz (Česko-Slovenská filmová databáze), Czech Republic, accessed 27 June 2026.

Edmondson, Ray and Andrew Pike, Australia's Lost Films: The Loss and Rescue of Australia's Silent Cinema, National Library of Australia, 1982, 96p.  

From the Archives, 1933: In the Wake of the Bounty, Sydney Morning Herald, 17 March 2023.

Grokipedia, James Dixon Williams (1877-1934), Grokipedia, accessed 3 July 2026. 

IMDb, Mutiny of the Bounty 1916, IMDb, accessed 27 June 2026.

La mutinerie du "H.M.S. Bounty", Encyclopédie du film d’Histoire, accessed 29 June 2026.

Longford, Raymond Hollis, The Mutiny of the Bounty [manuscript], typed draft film script / synopsis (13p) plus official and legal correspondence (21p), National Archives of Australia, Canberra, Series: Applications for Literary and Dramatic Copyright, file no. A1336/4799, 22 February 1916 - 22 January 1936, 34p. 

Nash, Margot, Lottie Lyell, in Jane Gaines, Radha Vatsal, and Monica Dall’Asta (editors), Women Film Pioneers Project, Columbia University Libraries, New York, 2018.

Norman, Douglas, The perennial cinematic voyage of Bligh, Christian and HMS Bounty, Pacific Islands Monthly, 53, July 1982, 11-12, 14.

Wikipedia, Errol Flynn, Wikipedia, accessed 30 May 2026.

-----, Fletcher Christian, Wikipedia, accessed 2 June 2026.

-----, In the Wake of the Bounty, Wikipedia, accessed 30 May 2026.

-----, Lotte Lyell, Wikipedia, accessed 27 June 2026.

-----, Mutiny of the Bounty (1916), Wikipedia, accessed 30 May 2026. Stars: George Cross and Wilton Power. Produced by Raymond Langford.

-----, Mutiny on the Bounty 28 April 1789, Wikipedia, accessed 30 May 2026.

-----, Mutiny on the Bounty (novel 1932), Wikipedia, accessed 2 June 2026.

-----, Mutiny on the Bounty (1935), Wikipedia, accessed 30 May 2026. Stars: Charles Laughton and Clarke Gable.

-----, Mutiny on the Bounty (1962), Wikipedia, accessed 30 May 2026. Stars: Marlon Brando and Trevor Howard.

----- The Bounty (1984), Wikipedia, accessed 30 May 2026. Stars: Mel Gibson and Anthony Hopkins.

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| Mutiny of the Bounty 1916 | In the Wake of the Bounty 1933 |

Last updated: 2 July 2026

Michael Organ, Australia