Home > 100 Greatest Scores, Reviews > MUTINY ON THE BOUNTY – Bronislau Kaper

MUTINY ON THE BOUNTY – Bronislau Kaper

September 25, 2017 Leave a comment Go to comments

100 GREATEST SCORES OF ALL TIME

Original Review by Craig Lysy

Following the stunning success of the remake of the epic Ben-Hur in 1959, MGM studio executives decided to draw water from the same well, accepting director John Sturges’ suggestion of a remake of their classic 1935 film Mutiny on the Bounty. Producer Aaron Rosenberg was tasked with bringing the film to fruition, and on Sturges’ advice hired Marlon Brando to provide the necessary star power. Veteran director Carol Reed was chosen to manage the film and a fine cast was hired to support Brando in his role as Lieutenant Fletcher Christian, including the renown Trevor Howard as Captain Bligh, Richard Harris as seaman John Mills, Hugh Griffith as seaman Alexander Smith, Richard Haydn as Botanist William Brown and Tarita Teripaia as Princess Maimiti. The studio granted a truly massive budget of $14 million dollars that would include local filming on Tahiti and building a $750,000 replica of the Bounty. Trouble however arose quickly due to an ever-evolving script, which included six screenplays that were rejected by the mercurial Brando. The film was to be shot over one year, but thanks to Brando’s rewrites, reshoots and prima dona tirades, Reed quit and production ended up taking three years to film!

Like the 1935 film, the screenplay drew inspiration from the novel Mutiny on the Bounty (1932) written by Charles Nordhoff and James Norman Hall. The story, which takes place in 1787, is well known, and tells the tale of the British ship HMS Bounty, which has been tasked with obtaining breadfruit plants in Tahiti and transporting them to Jamaica to provide a cheap food staple for the plantation slaves. Captain Bligh, a tyrannical autocrat commands with a young patrician aristocrat Fletcher Christian serving as executive officer. Over time Bligh’s unrelenting brutality, cruelty, and torture of the crew sows fierce resentment and precipitates a mutiny led by Christian. Bligh is cast adrift with loyalists and Christian takes the Bounty taken back to Tahiti to pick up provisions and women. The mutineer’s plan is to escape a death sentence of hanging and start a new life, safely beyond the reach of British law. The Bounty is piloted to an obscure island where she is burned, leaving no trace of its existence. Bligh survives, is exonerated by the Admiralty, but forever tainted by the mutiny. The mutineers live out their lives on Pitcairn Island, which is today populated by their descendants. The film was a commercial disaster, earning $5 million less than its production costs. It did however achieve some critical success, earning seven Academy Award nominations including; Best Picture, Best Cinematography, Best Film Editing, Best Art Direction, Best Special Effects, Best Score and Best Original Song, yet secured no wins.

Miklós Rózsa was originally assigned to write the score, however he disliked the script, and insisted that he be allowed to continue working on his passion project, “El Cid”. As such Bronislau Kaper, who was under MGM contract, was given the project. Kaper was inspired by the assignment, and enthused to be afforded such a grand canvass on which to compose, however had he known what lay in store, he might have reconsidered. Brando’s maddening and constant rewrites, edits and reshoots, wrecked havoc on his score, requiring multiple cues to be rewritten and new ones created. When all was said and done, the score was rewritten, and recorded three times, in March, June and September of 1962! His perseverance over three torturous years offers testimony to his steadfast dedication to the film, and his professionalism.

Kaper chose leitmotifs, as was his practice, to underpin his score, but he also understood that the cultural backdrop of the Tahiti needed to be infused into his soundscape. To that end he was meticulous, spending considerable time in Tahiti embracing its exotic auras, recording native singers and instruments, as well as writing his love song “Follow Me”, lyrics by Paul Francis Webster. He also juxtaposed the nativist Tahitian auras by interpolating the traditional British naval identity “Rule Britannia”. Three primary themes and two motifs support the film, including; the HMS Bounty Theme, a proud nautical construct born by inspired declarations by horns brillante. Infused within its recurring phrasing is the seafaring spirit of adventure that since time immemorial has inspired men to answer the call of distant lands. The theme serves as the identity of the HMS Bounty and supports her progress as she sails to her destiny. The second theme is the Mutiny Theme, a harsh, aggressive, and strident construct born by horns bellicose and strings agitato. There is menace and defiance within the notes, the fury of the oppressed; an angry, churning tide of discontent.

Lastly, we have the Love Theme, which underpins the romance between Fletcher Christian and Princess Maimiti. The theme is carried like an exotic fragrance atop refreshing trade winds. A solo flute delicato bears its melody, dancing atop soft percussion, and when transferred to strings, its articulation becomes sumptuous. Kaper also provides two motifs including; the Punishment Motif, a dark and dire construct where strings affanato, plaintive woodwinds and ominous muted horns, which support Bligh’s cruelty as he punishes his crew. For the Storm Motif Kaper unleashes his orchestra to emote the power of the raging winter storms. Propelled by horns brutale, his music swells, crests and ebbs, mirroring the massive waves with dramatic effect. Please note that I sync the cues to the film’s narrative flow, as such my cue review will not be in album sequence. Lastly, this magnificent album also offers the original incarnations of Kaper’s score. My review will focus on the final film version, and I invite the reader to explore the earlier versions, which are supported by the excellent liner notes of Jeff Bond and Lucas Kendall.

“Overture” opens the film, displayed boldly across the screen. It offers a score highlight, which provides the usual Golden Age presentation of the score’s primary themes as a concert piece. Written in ABC form, we open with a dramatic expression of the menacing Mutiny Theme, its long-suffering and pent up fury released powerfully. We then flow gloriously into a wondrous full statement of the HMS Bounty Theme, so full of adventure. We conclude with exotic and festive music, which energetically expresses the joy of the crew’s happy life on Tahiti, culminating with a glorious flourish! “Main Title” supports the MGM studio logo and roll of the opening credits. We open with the aggression and menace of the Mutiny Theme, from which at 0:29 ushers in a full extended rendering of the HMS Bounty Theme in all its resplendent glory, now empowered with chorus. At 2:13 we segue into “Portsmouth Harbor” atop a traditional carefree British sea shanty as we see the Bounty moored in Portsmouth harbor taking on provisions. Botanist William Brown oversees the loading of his supplies and provides the film’s narration. Kaper perfectly captures the ambiance of the British port and seafaring spirit of its inhabitants.

In “Leaving Harbor” heraldic fanfare supports the crew’s unfurling of the Bounty’s sails as she departs grandly for her long voyage. The music is festive and fills us with the joy of adventure as quotes of the HMS Bounty Theme join, and then render a full statement, abounding in confidence and pride. In a proclamation of British pride, “Rule Britannia” resounds as we gaze atop the mast at the British flag. We close on a diminuendo as spirits are dispensed to the crew. “Two Dozen Lashes” reveals the crew’s first encounter with Bligh’s cruelty. After the steward wrongfully accuses seaman Mills of stealing two blocks of cheese, he rages below deck, accusing the Captain of the theft. Captain Bligh overhears his accusation, and plants the seeds of the coming mutiny when he orders Mills to receive two-dozen lashes. That Bligh himself is the thief is despicable, and damning. Kaper supports the scene with a grim pathos of his Punishment Motif, born from a joining of strings affanato, plaintive woodwinds and ominous muted horns, which build on a crescendo of pain with each lash strike, dissipating as Mills collapses. At 3:07 in “Men Break Ranks” the crew is discharged and resume their duties. Kaper sustains the pathos and we conclude on the HMS Bounty Theme, now rendered as an eerie mysterioso. “Bounty” reveals the ship’s sailing progress at sea, carried by a reserved rendering of the HMS Bounty Theme, which supports Brown’s narration. At 0:56 we segue into “Chart” with a shift to Bligh’s cabin. We see him reviewing charts for his audacious plan to shorten the trip by six months by challenging a dangerous westward passage by way of Cape Horn. A portentous echo of the Mutiny Theme supports the scene.

In “Making for the Horn” Bligh overhears Midshipman Young making a joke about his gait, and orders him to spend the night aloft in the crow’s nest as punishment. Kaper reprises the dire Punishment Motif of “Two Dozen Lashes” to support Bligh’s cruelty and Young’s trial aloft. At 1:07 the orchestral swells powerfully with the awesome power of violent seas, as the Storm Motif is unleashed and the Bounty sets forth to negotiate an audacious winter passage of Cape Horn. “Norman” reveals the first casualty of Bligh’s arrogance as seaman Norman dies as the Bounty sails headlong into the violent seas. An ambient line by bass doloroso and muted trumpets carry the pathos of Norman’s death “The Storm” offers a powerful cue where Kaper unleashes his orchestra with the fury of storm swept seas atop the Storm Motif as the Bounty is buffeted by raging winter storms. The music swells, crests and ebbs, mirroring the massive waves with fleeting, strained statements of the Bounty Theme, which struggle like the ship to assert itself. Interludes where we see images of a frightened and dispirited crew are supported by darkly by portentous yet nascent phrases of the Mutiny Theme as the chasm between Bligh and his crew grows. In “We’ve Lost” Bligh surrenders to the implacable power of nature and orders the ship to turn about. An imperiled, yet defiant rendering of the HMS Bounty Theme supports Bligh’s decision, and carries the ship’s progress. As the weather slowly clears and the seas calm the theme brightens and regains its former pride and confidence.

“Whiplashing Montage” showcases what I believe to be the score’s supreme rendering of the HMS Bounty Theme. The cue supports a montage with Brown’s narration of Bligh’s relentless scourge as crewman after crewman unjustly suffers the malice of his lash. We see in the men’s eyes a palpable resentment and growing hatred that does not deter Bligh, but instead emboldens him. Kaper speaks to this intense undercurrent of rage with his Punishment Motif, which progresses naturally, and seamlessly into the strident Mutiny Theme. A stirring diminuendo commences at 1:15, which ushers in a glorious and celebratory rendering of the HMS Bounty Theme as the ship makes landfall in Tahiti. “Tahitians” offers a score highlight, and a stunning scene as hundreds of Tahitian boats come out to greet the Bounty. Declarations by conch shell trumpets and a shifting sonority of nativist drum rhythms launch the Tahitian boats and carry their progress. A grim and resolute Bligh is unimpressed and repeating orchestral strikes sow tension as they close upon the Bounty. As Bligh descends to a shuttle, which will carry him ashore, ominous strings carry his menace and progress. His heavily armed landing party escort him as he travels ashore to meet and parley with the Chief. As the Chief arrives on the royal barge at 3:40 we crescendo with grand pageantry royal carried by a powerful, strident percussive cadence and thunderous horns bravura.

The next quaternary cue is complex, and multi-scenic. In “Maeve, Maeve” Bligh offers the chief gifts and successfully negotiates the purchase of the breadfruit plants. The Tahitians celebrate the concord and welcome the Bounty’s crew with a Tahitian song sung a cappella by nativist choir. At 0:37 we scene change to “Te Manu Pukarua” where a playful crew jumps in the bay and frolics with Tahitian women who have aligned in a long line for net fishing. Kaper supports the merriment with playful strings animato, which usher in a new song sung by nativist choir. The orchestra accompanies the song, infusing both happiness and vital energy. At 1:53 we segue into two score highlights with “Go On Then” where we see Tahitian men paddling their canoes to stampede fish into the women’s waiting net. Strings energetico drive the stampede and usher in a marvelous score highlight, where Kaper graces us with some of his finest music, a wondrous celebratory paean of joy in “Girls and Sailors”. We see the crew playfully join in the amazing wonder of the sea harvest! The Chief throws a feast and the women entertain the men with erotic dancing, which arouses the crew. Maimiti, the Chief’s daughter and Christian’s eyes lock in an instant attraction. The cue is not included on the album, but Kaper instills both the exotic and the erotic with energetic nativist drums rhythms.

In “Follow Me (Love Song)” Maimiti invites Christian to follow her with her alluring eyes. Christian joins her for an intimate respite and we see that both are smitten. As he moves to kiss her, Bligh intrudes to interrupt the moment. Kaper supports the romantic moment with his Love Theme, which is carried by flute delicato over soft nativist percussion and wordless choir. Its soft, alluring and exotic rhythms offer a perfect romance for our two lovers. The following is a multi-scenic quaternary cue. “Rule Britannia” reveals a spiteful Bligh ordering Christian to return to the Bounty. The next day an emissary arrives and demands Bligh send Christian back to Maimiti or risk offending Chief Hitihiti and unraveling the trade agreement. As such Bligh orders Christian ashore to do his duty for the crown and make love to Maimiti! As Christian returns for King and Country, Kaper supports his progress with a comic overblown rendering of “Rule Britannia”! At 0:32 we segue into “Rubbing Noses” where we see Christian and Maimiti resuming their public affection, such restoring the Maimiti’s honor. Nativist woodwinds and soft percussion create a gentile pastorale to support the tender moment. At 1:58 we segue into “Lovemaking Montage” where Kaper supports a montage of Christian’s and the crew’s lovemaking with the uninhibited Tahitian women with a choral rendering of the Love Theme. At 3:33 we close the next day at dawn in “Potting Shed” where woodwinds gentile support Bligh’s inspection of the shed containing the Bounty’s cargo of breadfruit plants.

The following is a multi-scenic quaternary cue. “Maimiti” reveals Maimiti in a stunning red dress coming to see Christian off. Kaper supports her with woodwinds gentile, which then take up the Love Theme. We segue at 0:39 into “Goodbye Maimiti” where Christian bids farewell to Maimiti and informs her that although he cares for her, that he will not be returning. Kaper supports the bittersweet moment with a tender statement of the Love Theme. At 2:43 in “Deserters and Outrigger Chase” we have another score highlight as Christian observes Mills and several crewmen desert, and steal a Tahitian outrigger. Christian hails a large Tahitian outrigger with rowers and offers pursuit. We open with foreboding orchestral colors and discordant phrases of the Love Theme as Mills and his fellow deserters steal an outrigger and seek escape to the far side of the island. Tension slowly, yet inexorably builds until 5:00 when Kaper whips his orchestra into frenzy, propelling the chase with driving, percussive, kinetic energy. Horn declared soundings of the HMS Bounty Theme support Christian’s pursuit and we crescendo powerfully atop the theme, rendered triumphantly as the deserters boat capsizes and they are apprehended. In “Prisoners” Christian returns the deserters to the Bounty, where a vengeful Bligh summarily sentences them without mercy to punishment by shackling them in chains in the ship’s hold without trial. An eerie violin ostinato, bass pulse and lurking phrases of the Mutiny Theme speak to a rising and intensifying and dark undercurrent of resentment. As Mills plots mutiny in the brig, we close Act I with “Intermission” atop a powerful and vengeful crescendo atop three strident quotes of the Mutiny Theme.

“Tahitian Drums” opens the “Entr’Acte” with a prelude of nativist percussion from which is born the Love Theme. Kaper offers an embellished version sung in English by choir, and supported by lush orchestral accompaniment. We open Act II with “Maururu A Vau”, where the Tahitians bid farewell to the departing Bounty with a rendering of their wistful farewell song, sung a cappella by nativist choir. At 1:08 we segue into “Dead Plant” carried by foreboding auras of plaintive woodwinds as a dead breadfruit is discovered. Strings sinistre sow dark auras and an ominous rendering of the HMS Bounty Theme, which supports Bligh’s order to increase watering of the plants at the crew’s expense. In “The Ladle” Bligh’s cruelty is manifest as he orders the water ladle hung high atop the mast, which requires the weakening men climb to obtain a drink. Bleak woodwind auras speak to the crew’s plight, joined by strings affanato, which sow a rising tension. “One” reveals a crewman seeking the ladle falling to his death, which precipitates another crewman assaulting Bligh. Fierce orchestral stabs support the death fall and precipitate a dark and discordant undercurrent by the Mutiny Theme, which begins to coalesce with mounting menace. “Keel Hauling — Headsails and Fores’ls” reveals Bligh, in violation of naval regulations, ordering the assaulter to death by keelhauling. As the man is bound and tossed overboard dire muted horns and strings usher in an anguished rendering of the HMS Bounty Theme. We swell powerfully at 1:15 on stabbing discordance as he is pummeled against the ships hull, with an orchestral shriek at 2:02 supporting his death by a shark. Low register strings and ominous horns utter phrases of the Mutiny Theme, reflecting the fury in the crew’s eyes. The dissonant theme moves to the forefront as Bligh orders full sail. We close with anguish atop the theme as Mills appeals to Christian’s humanity to intervene.

“Sea Water” offers the catalyst for the mutiny. A crewman has gone mad from drinking seawater. Bligh refuses the man water, which precipitates a moral crisis within Christian. We open atop a grim string crescendo, which ushers in the Mutiny Theme that writhes in pain. Forlorn woodwind phrases and portentous horns sow tension as we see in Christian’s eyes his moral turmoil. The mutiny cue is a score highlight, offers outstanding music, and yet was inexplicably dialed out of the film. I believe that this was an unforgiveable artistic error, and so assess the excised CD 3 cue in film context. In “Mutiny”, we open with Christian’s questioning and then defying Bligh’s order. When he offers the man water Bligh kicks the ladle out of his hand. We open dramatically with Kaper sowing tension with repeating and intensifying phrases of the Mutiny Theme. Christian, snaps, and forcefully slaps Bligh in a stunning rebuke. Bligh declares that Christian will hang upon their return to England, which precipitates the mutiny. Kaper unleashes orchestral fury, crescendoing upon a now violent Mutiny Theme as Bligh and loyalists are apprehended. Plaintive statements inform us of the Bounty’s fall from grace. The Mutiny Theme propels the mutineers as they round up all the remaining loyalists. A plaintive solo trumpet call heralds the defeat of the loyalists and we close on a sad diminuendo. In “Breadfruit Overboard” The mutineers banish Bligh and the loyalists with meager supplies to a rowboat, earning his defiant declaration of retribution. Grim portentous horns launch Bligh and join the HMS Bounty Theme in a sparkling and determined rendition. In a masterstroke of juxtaposition Kaper supports the celebratory tossing of the breadfruit plants overboard by the crew with an afflicted expression of the Mutiny Theme, a manifestation of Christian’s contemplation of their uncertain future. “Back to Tahiti” reveals the Bounty’s return to Tahiti with her beleaguered theme carrying her progress. A plaintive Mutiny Theme informs us that the crew is now fugitives from justice. At 1:17 in “Torea” they make landfall at Tahiti and the natives greet their return with a traditional song, sung a cappella.

“Maimiti Go Too” offers a splendid score highlight. Maimiti comes aboard to Christian, who is disconsolate and brooding in his cabin. The flute born Love Theme carries her to him, and blossoms into a sumptuous romantic rendering. Most interesting is the shifting contrast in the theme’s articulation – hopeful for her on solo violin, plaintive for him. In a scene change we close on dire snare drum driven rendering of Rule Britannia as Bligh successfully returns to England. In “Searching – Wrong Chart and Pitcairn” eighteen Tahitians join the crew and we see the Bounty sailing eastward in search of a remote island refuge where they can escape British justice. A confident and hopeful seafaring motif carries the Bounty’s progress. At 0:50 Kaper sows uncertainty and tension with fragments of the Mutiny Theme when a British ship is seen in the distance. An eerie tension is sowed by tremolo strings as Christian turns about at night and loses them. Eventually they sight the island of Pitcairn located a thousand miles southeast of Tahiti. As Mills leads a landing party to reconnoiter the island, Kaper supports their exploration with an unsettling mysterioso, from which arises at 5:15 the Paradise Theme, a paean of joy as they confirm that the island is uninhabited. The music exudes salvation, and hope for the future as we see the crew and Tahitians begin to forge a new life.

We conclude with a dramatic multi-scenic quinary cue, which closes the film. In “The Vote” Christian informs the crew that he believes that they should return to England to defend in trial the morality of their actions. The crew fears the gallows, is not supportive, and asks Christian for a vote tomorrow. Plaintive woodwinds support the scene. He consents, and retires for the evening. At 0:23 we segue into “They’ve Given Up” and commence a powerful score highlight, which features extraordinary contested interplay of the Bounty and Mutiny Themes. Maimiti who sees the Bounty in flames, awakens Christian. An eerie glissando, discordant metallic sounds and piano strikes usher is a beleaguered Bounty Theme as Christian rallies the men in an effort to save her. What unfolds is a frantic string accelerando with dire horns unleashing a now grotesque Mutiny Theme in all its brutal power. As Christian struggles to save the ship the Bounty Theme resounds and carries his efforts. Christian’s decision to return below to retrieve the sextant dooms him. He is successful, but he is crushed atop deck by a fiery falling mast arm. As it crashes down upon him the Mutiny Theme crescendos with repeating horrific blares.

At 6:07 we segue into “Gentle” as a mortally wounded Christian is brought ashore. Eerie tremolo strings usher in fragments of the Mutiny and Love Themes as Maimiti comes to him. Plaintive woodwinds sow darkness and regret as the arsonists return and see Christian’s shattered and burned body. As Christian awakes and asks of the Bounty’s fate, her theme shorn of all its pride returns, severed by the Mutiny Theme, which carries Mills grief and regrets as kneels and apologizes. As death approaches strings doloroso wail and portend his expiation as a plaintive Bounty Theme sounds one last time for what could have been. A lament unfolds upon the Mutiny Theme as Christian contemplates with regret, his end. At 12:27 we segue into “Christian’s Death” atop the solo flute of the Love Theme as Maimiti returns with medicine. It struggles in its articulation, carrying with regret his deathbed confession of love. As he passes, the Love Theme flows into at 14:06 “Definite End”, where it is rendered plaintively with choir and shimmering strings as the Bounty’ fiery hulk sinks beneath the waves.

I would like to thank Lukas Kendall for this magnificent restoration of Bronislau Kaper’s masterpiece, “Mutiny on the Bounty”. The remix and digital re-mastering provides superb audio quality, and the 3-CD box set, which offers the score’s many incarnations is extraordinary. This score is epic in scope, and underpinned by three primary themes; the inspiring and grandiose nautical theme for the HMS Bounty, which carries her forth with pride and the call of adventure as much as the trade winds, the Mutiny Theme, which is dark, menacing, and festers for most of the early film before erupting in violence, and the wondrous romantic Love Theme, one of Kaper’s finest. Kaper incorporated classic British references such as Rule Britannia, which he juxtaposed with the richly ethnic Polynesian auras and percussive rhythms of the South Seas. As he did with the earlier 1935 version of the film, he penned a song for the ages – “Follow Me”, with lyrics by Paul Francis Webster. This Silver Age gem was saddled with a flawed film, yet managed to enhance its imagery, story telling, conflict, and narrative flow. Indeed, the music was perfectly attenuated to scene after scene, and brilliantly captured the powerful intersection and conflict of character emotions. I highly recommend the purchase of this extraordinary box set as an essential part of your collection.

For those of you unfamiliar with the score, I have embedded a Youtube link to the powerful Overture & Main Title: https://www.youtube.com/watch?v=qTyxfbhHK4c

Buy the Mutiny on the Bounty soundtrack from the Movie Music UK Store

Track Listing:

  • Overture (04:37)
  • Main Title/Portsmouth Harbor (04:23)
  • Leaving Harbor (03:27)
  • Two Dozen Lashes/Men Break Ranks (03:48)
  • Bounty/Chart (01:12)
  • Making for the Horn (02:07)
  • Norman (00:41)
  • The Storm (03:02)
  • We’ve Lost (01:08)
  • Whiplashing Montage (02:53)
  • Tahitians (04:50)
  • Maeve, Maeve/Te Manu Pukarua/Go On Then/Girls and Sailors (03:48)
  • Follow Me (Love Song) (03:07)
  • Rule Britannia/Rubbing Noses/Lovemaking Montage/Potting Shed (03:57)
  • Maimiti/Goodbye Maimiti/Deserters and Outrigger Chase/Prisoners/Intermission (09:47)
  • Tahitian Drums/Entr’Acte (03:47)
  • Maururu A Vau (Tahitian Farewell Song)/Dead Plant (02:50)
  • The Ladle (01:19)
  • One (01:44)
  • Keel Hauling/Headsails and Foresails (04:52)
  • Sea Water (02:47)
  • Breadfruit Overboard (01:41)
  • Back to Tahiti/Torea (01:56)
  • Maimiti Go Too (04:32)
  • Searching/Wrong Chart and Pitcairn (06:19)
  • The Vote/They’ve Given Up/Gentle/Christian’s Death/Definite End (15:20)
  • Main Title/Prologue/Chanties [Alternate] (06:29)
  • Leaving Harbor [Alternate] (03:31)
  • Bounty/Chart [Alternate] (02:04)
  • Making for the Horn [Alternate] (03:32)
  • The Storm [Alternate] (05:02)
  • Whiplashing Montage [Alternate] (02:40)
  • Tahitians [Alternate] (05:14)
  • Native Folk Song/Kids and Leis/Go On/Girls and Sailors [Alternate] (04:24)
  • How Very Sweet [Alternate] (02:46)
  • Maimiti/Goodbye Maimiti/Chase/Prisoners/Plotters and Intermission [Alternate] (09:59)
  • Dead Plant [Alternate] (01:31)
  • The Ladle [Alternate] (01:45)
  • One [Alternate] (01:54)
  • Keel Hauling/Headsails and Foresails [Alternate] (04:49)
  • Sea Water [Alternate] (00:58)
  • The Mutiny [Alternate] (03:21)
  • Breadfruit Overboard [Alternate] (02:20)
  • Tofoa Be Damned [Alternate] (01:05)
  • Burial Service [Alternate] (02:02)
  • Maimiti Go Too [Alternate] (04:14)
  • After Court/Wrong Chart/Pitcairn [Alternate] (05:13)
  • The Bird/Little Mutiny [Alternate] (01:18)
  • The Vote/They’ve Given Up/Gentle/Christian’s Death and Epilogue [Alternate] (15:21)
  • Overture Introduction (00:29) – Bonus Alternate Version
  • Theme from Mutiny on the Bounty (02:18) – Bonus Album Track
  • Leaving Harbor (02:38) – Bonus Intermediate Version
  • Two Dozen Lashes/Bounty (00:28) – Bonus Intermediate Version
  • Making for the Horn (01:41) – Bonus Intermediate Version
  • Whiplashing Montage (03:00) – Bonus Intermediate Version
  • Arrival in Tahiti (03:16) – Bonus Album Track
  • Ori E Ori E/Te Manu Pukarua (02:12) – Native Festival Music
  • Girls and Sailors (01:56) – Bonus Album Track
  • Love Song from Mutiny on the Bounty (Follow Me) (02:11) – Tahitian Album Track
  • Torea/Tahitian Drums (02:18) – Native Festival Music
  • Rule Britannia/Lovemaking Montage (03:47) – Bonus Alternate Version
  • Outrigger Chase (02:01) – Bonus Album Track
  • Burial Service (02:01) – Bonus Alternate Version
  • Pitcairn Island (01:49) – Bonus Album Track
  • Christian’s Death (04:40) – Bonus Album Track
  • Tahitian Outtakes (03:43)
  • Leaving Harbor (02:37) – Bonus Album Track

Running Time: 234 minutes 31 seconds

Film Score Monthly FSMCD 7-16 (1962/2004)

Music composed by Bronislau Kaper. Conducted by Robert Armbruster. Orchestrations by Leo Arnaud and Robert Franklyn. Score produced by Bronislau Kaper. Album produced by Lukas Kendall.

Advertisements
  1. No comments yet.
  1. No trackbacks yet.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s