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I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

The film never slows down or bores, plunging from one harrowing sequence to the next.

* Yet the real moral of the story is that an articulate disgruntled crew member (officer or enlisted) who is not happy with the commander can be detrimental to morale by convincing others to agree with him. Keefer uses Captain Queeg's ball-bearings as a sign of insanity when they were really just a harmless nervous habit no worse than Keefer's smoking cigarettes. The captain offered the young officers a chance to discuss their feelings of his command and offer suggestions but perhaps brainwashed by Keefer's psychobabble refused to do so. Unlike the previous easy-going skipper Queeg was a by the book man but that should have been accepted and respected. Has those officers supported and respected Queeg instead of heeding Keefer things would have worked out.

At a time, when television took place to invade private homes, Columbia Pictures presented a star vehicle with Humphrey Bogart as hopelessly overwhelmed substitute captain of the mine sweeping navy ship, called "Caine", which will grant him another academy award nomination for an actor in a leading role.At mark 25mins 35sec Bogart introduces the character of Queeg on the ship's deck, already getting hold into spiritual stranglehold of former captain, played by Tom Tully who desperately remarks before leaving ship "Keep the clock running thirty minutes slow to remember of the foul of the crew of the Caine." Screenwriter Stanley Roberts does everything in his power to bring the uncanny feeling of doomed ship's enterprise to the page. Trust has been given by producer Stanley Kramer, at that time still working for his first directing credit, so he passed the directing job to Edward Dymtryk, who has been overstepped by the Academy for a nomination as best director in 1955, which came at no surprise due to the lack of a personal signature towards the picture.The director utilizes craft-fully the given techniques from stunning technicolor imagery paired with restored documentary footage of maneuvering battleships in the Pacific ocean. Clearly helped out by his production designer Rudolph Stenard, creating a color-force out of sandstone, green and blue, and not to forget score composer Max Steiner who elevated the atmosphere of the picture. It has been a promising start for the director, when pitch-perfect beats strike at a training-concluding U.S. Marine ceremony when actor Robert Francis gives inaudible gestures to his fiancée, "I'll see you in ten." At this point, the director's eye approves and he keeps on directing safely in static beautifully balanced color shots and a POV of the movie's youngest character, who boards the Caine at running time mark 07mins 15sec by seeing mother of at the peer and neglecting the fiancée. Character Keith runs promptly into Lt. Tom Keefer, played by magnificent Fred MacMurray, who brings the ship's business down to a punchline,"A ship designed by geniuses, run by idiots." Me in the audience is getting prepared for a pace-holding classic, live-action shots of Navy destroyers crossing the Pacific, but the crew shows their quality completing their first drill with a goof ball procedure. The officers have time to write novels in the mean-time, so the Captain DeVriess gladly gives the command to Bogart's character Cpt. Queeg, who strikes back with fragility to motivate his crew, "There is the right way, the wrong, the Navy way and my way." Editor, Henry Batista, does the job with at times surprising EWS (extreme wide) and MFS (medium-full) shot inter-cutting, but Minutes later gets sloppy straight-angled medium-full and to medium-close-up shots in order to bring the picture of its requested 2-hour deliverable.At of the ACT I provides the audience's eye a relief at a country side, referring to a nowadays vanished life of the U.S. Western Coast in the 1950s, where arguably the strongest moments in "The Caine Mutiny" take place due to a connecting Director-Producer symbiosis and raising production value with interweaving shots of a full-bloom country side, a falling fire from a rock-side building the contrast as Earth & Fire towards the concluding storm scene, where the name-given mutiny takes place in the element Air & Water.Tensions by a performing ensemble cast can be hold to the point of mutiny, even with another playful anecdote on the Cpt. Queeg commanding abilities, when at a officers' briefing, Lt. Keefer coughs into the captain's speech, "Sorry captain that smoke went down the wrong way", followed by an honest close-up of Humphrey Bogart, bringing the fading captain to life. The continuing failing battle assignments somehow, recalls a recent battleship extravaganza from 2012er directed by Peter Berg, which makes me want to watch that movie again, strangely enough due to the 58-year-old Hollywood lifespan in between.Director Dymtryk clearly gets his captain's bug, when towards the end of ACT II, in middle of setting up the mutiny scene, sloppy matte paint and back projection work spoils the picture before presenting another strong scene on the Caine's bridge in the middle of a high sea storm, where Bogart's character gets entangled by their fellow officers. He starts to misjudge the ship's situation. Dutch angle take place for a derailed character, which pushes reminisces to Gregg Toland's Cinematography in "The Third Man", when the show is all over at 1hour 21mins 00sec.ACT III revives the love story between character Keith and his fiancée May with infantile approaches. Supporting actor Jose Ferrer gets brought in as internal affair lawyer faking his right hand injury, who's name is still used to market the movie. His performance limbs back on the expectations. The director loses grip. The pace of the film runs low and overall suspension gets loss. Missing clearly an Hitchcockean factor at the court room sequence.Humphrey Bogart does not stroke a home-run with his performance, but brings his final moments in the court room professional to the finish line referring to an overall statement, "that a captain of any ship must be perfect.". Sealed close-ups, crossed legs, camera pushing in on tighter to a rare extreme-close-up on Bogart's face revealing hints of a green iris in his eyes and sweating lips, covering his breath work professionally and concludes the show as another movie under his rooster.© 2017 Felix Alexander Dausend

First off, I just watched this in Blu Ray, and although not perfect, it is a very good transfer, and I think worth the upgrade.This is, perhaps, the best performance Humphrey Bogart ever put in to a film, or if not, certainly one of his best. Captain Queeg was a complex character. It's too easy to look at him just as a coward or just as a paranoid. Queeg is a rather complex character with ever-changing moods, and Bogart was able to capture all the various subtleties, including the scene where he asks for the help of his officers, but then realizes he has failed. However. the penultimate scene is, of course, in the courtroom with the ball bearings; a truly classic movie scene, and in my view it should have won Bogart the Oscar.However, somewhat overlooked is the very strong performance by Fred MacMurray. MacMurray is really underrated today, but throughout his career he demonstrated time and again that he could handle comedy and drama equally well. Here, he plays a bit of a coward who pushes the other officers to act, but then doesn't help them at all. The film wouldn't have worked half as well with MacMurray.The other actor here I'll give credit to is an actor I never really liked -- Jose Ferrer. I always thought the most dominant characteristic of Ferrer was his own ego, rather than his acting. However, here he was quite good as the lawyer defending Van Johnson.While I don't think Van Johnson was outstanding here, he was good, and the film is a good reminder that Johnson didn't only appear in fluff comedies and romantic films. He had a number of very good dramatic films, as well.I can't quite make up my mind about Robert Francis. Of course, his early death prevented us from seeing how he might have matured in Hollywood, but I felt that he was not handsome enough to be a traditional leading man. He does alright here, and it is through his eyes that we see the story.I always thought this was a hard film to criticize, but upon this most recent viewing I found a significant flaw -- the court-martial segment. Next time you watch the film, pay closer attention to it. With the exception of Bogart's part of it, the courtroom segment is remarkably superficial.However, all things considered, this is a very good film, and I recommend it. It's one of the rare war/military films that I watch.

When a US Naval captain (Humphrey Bogart) shows signs of mental instability that jeopardizes the ship, the first officer relieves him of command and faces court martial for mutiny.Although this was relatively late in Bogart's career, it probably ranks among his best roles. Is his character crazy? Maybe, maybe not. But he is certainly paranoid, and Bogart plays it to a tee without going over the top. Well, done, sir. I am sorry they gave you the Oscar for "African Queen" and not here.This film is a touch of "Mister Roberts" and a touch of courtroom drama. The blend is excellent, and a very enjoyable film. The strawberry incident is particularly fun and a powerful scene. It just grabs the viewer and holds them in.