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.
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.