You'd think a movie about the founding of Botany Bay would be really interesting, but this 1952 "swashbuckling adventure" was incredibly tedious. A bunch of convicts, with Alan Ladd, Patricia Medina, Murray Matheson, and Anita Sharp-Bolster as the featured leads, are sent to sail from England to New South Wales in the 1700s. Of course, since Alan Ladd can't put on a British accent, his character is written to be an American; and of course, even though she's one of very few women on board, already has a bad reputation, and walks around with her dress perpetually falling off her shoulders, no one takes advantage of Patricia Medina. Besides the unrealistic aspects of the story-no one would survive the punishments Alan Ladd endured-it still isn't very good. James Mason is the tough-as-nails sea captain, thinly veiled as another Captain Bligh. This movie is so closely a remake of Mutiny on the Bounty, it's as if James Mason got upset that no one wanted to redo the story in the 1950s so Hollywood appeased him with this. While I'm on the subject, I don't know why he wasn't cast in the 1962 remake; he could easily played any number of villains, like Captain Bligh, Inspector Javert, and Messala. And yes, James looks handsome in his captain's uniform, but unless you want to see him ordering fifty lashes and keel-hauling as if he's merely asking someone to refill his martini, feel free to skip this one. He looks handsome in almost every other movie he made, so you can sit through one of those.

In the late 18th and early 19th century Great Britain used to get rid of her low lifes and petty felons by transporting them off to Botany Bay (Australia) in prison ships.A motley bunch who undoubtedly needed a firm hand and strong discipline.In James Mason's captain they certainly got that.On the surface he has a degree of charm and compassion but underneath he is a sadistic psychopath with possible suppressed gay feelings,this 1952 Hollywood could only hint at such things.By comparison he makes Captain Bligh seem like a lovable old softie.James Mason gives an absolutely brilliant performance.He was excellent in these sort of roles.It doesn't take long for him and the hero played by Alan Ladd to fall out.Ladd who has suffered a miscarriage of justice has a large chip on his shoulder.Also on board is a young female convict played by the lovely Patricia Medina whose cleavage must have given the censors a few headaches and a good eyeful.She is also big trouble.Mason certainly has it in for Ladd sentencing him to fifty lashes then threatening to keelhaul him.When told that nobody has been keelhauled for fifty years Mason in his best sneering voice says "I don't think its been quite that long".Ladd much to Mason's annoyance survives.John Farrow,the director,doesn't pull his punches depicting the horror,unpleasantness and cruelty suffered by the convicts.It may have seemed necessary at the time but to modern sensibilities it was not Britain's finest hour,it is the most realistic part of the film.Of course this was an American film financed by American money so lets have a little dig at Britain's colonial past.I'm surprised that the anti British Mel Gibson hasn't remade it.Be that as it may when they land Australia looks like the Paramount back lot.The good news is that Mason gets his comeuppance thanks to a well directed Aborigine spear.Then HOORAY Alan Ladd's pardon arrives and the benevolent governor allows Patricia Medina to become his bride (no doubt their descendants delight in thrashing England at cricket)Not a classic but a fine salty saga all in glorious Technicolor.Ladd is excellent in this type of role.Apart perhaps from "Shane" he is undeservedly a forgotten name now.This must be one of the few Australian based films made in the fifties that didn't feature that wonderful character actor Chips Rafferty.Patricia Medina's cleavage is worth a star on its own so I'll give it seven which I think is a fair mark.

I recall catching this as a kid on local TV, a screening which, most probably, came about via the personal print of the film-buff sexton who calls over a number of friends, me included, from time to time to his private home theater in order to share in his vast movie collection on 16 and 35mm. Based on a book by the authors behind "Mutiny On The Bounty", this follows a very similar path – with a ship's crew at the mercy of a martinet captain (James Mason basically returning to the kind of role which had made him a star in his homeland); his opposition is led by medical student(!) Alan Ladd (typically dour) who's actually one of the many prisoners bound for exile in far-away Australia, among whom is also leading lady Patricia Medina (predictably, over the course of the film, she also becomes a personal object of contention between the two male stars).Despite such imposing credentials as scriptwriter Jonathan Latimer and director Farrow, the film perhaps fails to rise consistently above the routine – not even with such unusual plot points as Mason's adoption of a banned form of punishment (keel-hauling); during the latter stages, then – as the company sets ashore, and we also get to meet Governor Sir Cedric Hardwicke – the film tends to lose the initial momentum of the ship-board brutality. Suffice it to say that the film I watched just prior to it, CARTOUCHE (1962; with Jean-Paul Belmondo and Claudia Cardinale) was over 20 minutes longer but seemed to me to have moved at a much quicker pace! Even so, BOTANY BAY remains a good example of the colorful entertainment they used to churn out in the old days, given an extra edge by Mason's compelling portrayal (which, if anything, suggests that he'd have made a marvelous Captain Bligh).For the record, John Farrow directed Alan Ladd for the fifth and last time here after what looks like a run of mostly unassuming action potboilers: CHINA (1943), the equally seafaring TWO YEARS BEFORE THE MAST (1946), CALCUTTA (1947) and BEYOND GLORY (1948). It must be said here that, locally, Alan Ladd was a very popular film star with my father's generation and, apart from the immortal Western SHANE (1953), it's a pity that he seems to have been undeservedly forgotten with the passage of time.P.S. Useless bit of trivia: I have just come across an allegedly uncut copy of the controversial WAKE IN FRIGHT aka OUTBACK (1971; with Donald Pleasence) taken from an Australian TV screening and, as the credits rolled, an announcer informs the audience to tune in at the same time tomorrow for a screening of…BOTANY BAY!!

A good premise: a gaggle of British convicts, male and female, are shipped to the new penal colony in Australia, circa 1780s. But while this story calls for great seascapes, Paramount gives us ship-in-a-soundstage scenes which are cramped and unconvincing. Even the later sequences in Australia have a "backlot" quality to them. Note the dark, sexually-ambiguous undertones in the performance of ship's captain, James Mason. Alan Ladd, who, like Burt Lancaster and Mel Gibson, liked to suffer in his movies, here gets to be flogged and later keelhauled. His flogging in "Two Years Before the Mast" is much more vivid but his keelhauling in "Botany Bay" marks the only time a Hollywood leading man has suffered this particular kind of punishment. Curiously, despite his penchant for "beefcake" scenes, Ladd remains fully clothed for this sequence. Perhaps the fear was that audiences would understandably expect a shirtless Ladd to suffer many cuts and abrasions on his bare torso while being scraped under the ship's keel, and Paramount didn't want to see its handsome leading man forced to look, even temporarily, disfigured or damaged.