Billy Budd

Nothing can touch the book (quality-wise), but this Ustinov-directed epic of '62 is clearly under-rated for it's time with some fine performances with beautiful B/W cinematography. Ustinov also plays Captain Vere in a subdued and strange performance. Robert Ryan (superb actor is right on the money as Claggart. Terence Stamp (in his film debut, I believe) is the perfect Billy Budd and well deserving of his supporting Oscar nomination.

An 8 out of 10. Best performance = Terence Stamp. Melvyn Douglas is crusty as usual and David McCallum is well-cast and officious. This was adapted from one of the classic American novels so the film could only be criticized rightfully, but a stunning achievement in retrospect!

This movie was adapted by a novel from Herman Melville and directed by Peter Ustinov. It was unfortunate that this movie came out at the same time as Mutiny On The Bounty and as overshadowed by that movie. This is a much better movie and has a great cast with Peter Ustinov playing the captain, Melvyn Douglas playing an old sailor, Terence Stamp playing the title character and Robert Ryan playing John Claggart, the Master-at-arms. Robert Ryan easily steals the movie and when Ustinov was casting this picture he didn't know why Ryan would want this role when he was trying to stay away from roles like this. Ryan always played great villains and this was one of his best roles. Everyone in this movie was great and so is the film.

I saw this when it first came out and loved it! The makers of this film (from the UK) are to be praised for addressing a subject historically so controversial that their countrymen could object it has anti-British content based on familiar stereotypes. Yet it is undeniably true. The British Empire thrived on a system of enforced labor, which included plantation slavery, pressgangs in the Navy and crimping of soldiers into the Army. The practice of stealing American sailors off of American ships and forcing them into the British service remained a vexed question between the two countries even after the revolution. Americans who had won their freedom in the revolution had to surrender it to the same tyrants on the high seas. "Billy Budd" shows the tragic injustice of being forced to serve an enemy, suffer his contempt and be punished for the natural act of defending oneself.

Technically, the film couldn't be better. The drama is excellently drawn in well lit black and white and cuts from scene to scene in a manner that never sacrifices clarity to suspense, telling the story as well as it can be told on screen. The close ups reveal all the nuances of character implied in Melville's great novel, making very accessible the emotion of righteous indignation, which is the film's final message. Today, a production crew like the one that made "Billy Budd" could make itself very busy faithfully translating literary classics onto the screen.

This film which was made at the now legendary, Allied Artists Studios (cough cough) is nothing short of a Masterpiece. Filmed totally on board a reconstructed Man O'War, it features Oscar level performances by Peter Ustinov, Terrance Stamp, Melvin Douglas and the performance of a lifetime by Robert Ryan (as Klaggart, the very human manifestation of evil). If one accepts this movie as a biblical allegory, then it could not end any other way. This is not your typical Hollywood fare, it is filled with intelligent performances, and good direction under difficult conditions. And it's in glorious black and white.

Peter Ustinov is generally a lot better at being a raconteur, chat-show guest and portly, engaging presenter of documentaries than film director, but this adaptation of Melville's short novel (note that the screenplay is based on a previous stage version) is surprisingly gripping. Terence Stamp, in his first movie role, is excellent as the benign life-force, Billy. Pressganged into service aboard a Royal Navy Man'o'War (clunky symbolism - the ship Billy leaves is called the "Rights of Man"), he soon wins over the crew with his guileless respect for justice and fair play. Robert Ryan is superb as Claggart, although perhaps this actor's tremendous capacity for sheer charmless evil overbalances the plot. When Claggart is struck down by the momentarily enraged Billy, he dies with a smile on his face, a detail which isn't in the book. It makes Claggart into a malevolent genius, when Melville wrote him as a preternaturally bitter and empty man. But that's showbiz for you.

There's a lovely scene between Stamp and Ryan, presumably missed by those who refuse to recognise the latter's genius, in which Billy almost manages to win Claggart over; you can see Ryan's eyes getting almost misty (he was a great eye actor) as he contemplates the spectacle of his own bleakness compared to Billy's warmth. But then, as he suddenly growls "You would charm me, too. Get away!" it's as if he suspected Billy if coming onto him. Remarkable touch.

John Neville and David McCallum are fine as the officers with tortured consciences; Ustinov has to carry off the difficult moral turnaround, kind of the opposite of what Fonda spends a whole film doing in "Twelve Angry Men", and has seldom acted so well. Perhaps in the book he's a less significant character, but for dramatic purposes the role obviously needed expanding, and it's done with taste and restraint. Supporting roles are all finely rendered, with Melvyn Douglas especially red-eyed and gravelly as the religious Dansker. Good stuff. And unusually for an adaptation, a sizable chunk of the dialogue is authentic Melville.