Master and Commander: The Far Side of the World

After an abrupt and violent encounter with a French warship inflicts severe damage upon his ship, a captain of the British Royal Navy begins a chase over two oceans to capture or destroy the enemy, though he must weigh his commitment to duty and ferocious pursuit of glory against the safety of his devoted crew, including the ship’s thoughtful surgeon, his best friend.
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Credits: TheMovieDb.

Film Cast:

  • Captain Jack Aubrey: Russell Crowe
  • Dr. Stephen Maturin: Paul Bettany
  • Barrent Bonden, Coxswain: Billy Boyd
  • 1st Lt. Thomas Pullings: James D’Arcy
  • Midshipman Hollom: Lee Ingleby
  • Joe Plaice, Able Seaman: George Innes
  • Mr. Hogg, Whaler: Mark Lewis Jones
  • Captain Howard, Royal Marines: Chris Larkin
  • Mr. Higgins, Surgeon’s Mate: Richard McCabe
  • Mr. Allen, Master: Robert Pugh
  • Preserved Killick, Captain’s Steward: David Threlfall
  • 2nd Lt. William Mowett: Edward Woodall
  • Midshipman Blakeney: Max Pirkis
  • Midshipman Boyle: Jack Randall
  • Midshipman Calamy: Max Benitz
  • Midshipman Williamson: Richard Pates
  • Mr. Hollar, Boatswain: Ian Mercer
  • Mr. Lamb, Carpenter: Tony Dolan
  • Joseph Nagle, Carpenter’s Mate: Bryan Dick
  • William Warley, Cpt. of Mizzentop: Joseph Morgan
  • Faster Doudle, Able Seaman: William Mannering
  • Awkward Davies, Able Seaman: Patrick Gallagher
  • Nehemiah Slade, Able Seaman: Alex Palmer
  • Padeen, Loblolly Boy: John DeSantis
  • Black Bill, Killick’s Mate: Ousmane Thiam
  • French Captain: Thierry Segall

Film Crew:

  • Casting: Mary Selway
  • Co-Producer: Bob Weinstein
  • Co-Producer: Harvey Weinstein
  • Producer: Peter Weir
  • Costume Design: Wendy Stites
  • Editor: Lee Smith
  • Second Unit Director: David R. Ellis
  • Co-Producer: Todd Arnow
  • Producer: Duncan Henderson
  • Production Design: William Sandell
  • Assistant Art Director: Kevin Ishioka
  • Set Decoration: Robert Gould
  • Production Consultant: Anna Roth
  • Art Direction: Marco Niro
  • Casting: Fiona Weir
  • Stunt Double: Stuart Clark
  • Makeup Artist: Robin Beauchesne
  • Color Timer: Jim Passon
  • Dolby Consultant: Andy Potvin
  • Special Effects Coordinator: Daniel Sudick
  • Art Direction: Mark W. Mansbridge
  • Art Direction: Bruce Crone
  • Art Direction: Héctor Romero
  • Visual Effects Supervisor: Stefen Fangmeier
  • Director of Photography: Russell Boyd
  • Set Designer: William Hiney
  • Scoring Mixer: Robert Fernandez
  • Camera Operator: Guillermo Rosas
  • Supervising ADR Editor: R.J. Kizer
  • Screenplay: John Collee
  • Novel: Patrick O’Brian
  • First Assistant Director: Alan B. Curtiss
  • Producer: Samuel Goldwyn Jr.
  • Musician: Iva Davies
  • Conductor: Christopher Gordon
  • Original Music Composer: Richard Tognetti
  • Sound Recordist: Tim Gomillion
  • Sound Re-Recording Mixer: Paul Massey
  • ADR Mixer: Wendy Czajkowsky
  • Dialect Coach: Judy Dickerson
  • Post-Production Manager: Patrick Esposito
  • Post Production Supervisor: Jeffrey Harlacker
  • Production Assistant: Jessica Teach
  • Production Sound Mixer: Art Rochester
  • Co-Producer: Meyer Gottlieb
  • Utility Stunts: Mitch Toles
  • Visual Effects Producer: Jeff Werner
  • Camera Operator: Jamie Barber
  • Digital Intermediate Colorist: Michael Eaves
  • Stunt Coordinator: Doug Coleman
  • Set Medic: Jeffrey D. Stevens
  • Key Makeup Artist: Kate Biscoe
  • Stunt Coordinator: Daniel W. Barringer
  • Digital Compositors: Kathleen Beeler
  • Visual Effects Designer: Robert Stromberg
  • Dialogue Editor: Hugo Weng
  • Line Producer: Bridget Bourke
  • Unit Manager: Rafael Cuervo
  • Digital Effects Supervisor: David Ebner
  • Foley Artist: Gary A. Hecker
  • Production Illustrator: Daren Dochterman
  • Stunts: Joey Anaya
  • Rigging Gaffer: Stephen Johnstone
  • Visual Effects Coordinator: Kimberly Adams
  • Visual Effects Producer: Julia Frey
  • Stand In: David Oliver
  • Makeup Department Head: Edouard F. Henriques
  • Additional Casting: Judith Bouley
  • Costume Supervisor: Dawn Y. Line
  • Costumer: Anthony Almaraz
  • Production Coordinator: Andy Foster
  • Set Designer: Nick Navarro
  • Visual Effects Supervisor: Nathan McGuinness
  • Set Designer: Mark Hitchler
  • Visual Effects Producer: Stephanie Hornish
  • Executive Visual Effects Producer: Blondel Aidoo
  • Sound Designer: Richard King
  • Sound Effects Editor: Hamilton Sterling
  • Set Designer: Carlos Benassini
  • Construction Coordinator: Gary Deaton
  • Property Master: Doug Harlocker
  • Art Department Coordinator: Gerald Lehtola
  • Set Designer: Manuel Martínez
  • Leadman: Christopher Neely
  • Sound Re-Recording Mixer: Doug Hemphill
  • Boom Operator: Jeffrey A. Humphreys
  • Sound Effects Editor: Michael W. Mitchell
  • Visual Effects Supervisor: Mitchell S. Drain
  • Visual Effects Producer: Helen Elswit
  • Visual Effects Supervisor: Pablo Helman
  • Camera Operator: George Billinger III
  • Special Effects Assistant: Martha Susana Ramos
  • Camera Operator: Don Reddy
  • Camera Operator: Matthew J. Siegel
  • Local Casting: Kazimierz Suwala
  • Digital Intermediate Producer: Hilda Saffari
  • Transportation Coordinator: Russell McEntyre
  • Studio Teachers: Maxine Arbarbara
  • Studio Teachers: Judith M. Brown
  • Script Supervisor: Wilma Garscadden-Gahret
  • Script Supervisor: Brenda Lopez
  • Location Manager: Michael John Meehan
  • Thanks: Christopher Terrill
  • Transportation Captain: Wayne Stone
  • ADR Editor: Susan Dawes
  • Still Photographer: Stephen Vaughan
  • Music Editor: Simon Leadley
  • Set Dressing Supervisor: Jennifer Lewicki
  • Supervising ADR Editor: John A. Larsen
  • Hair Department Head: Yolanda Toussieng
  • Aerial Director of Photography: Phil Pastuhov
  • Matte Painter: Shannan Burkley
  • Visual Effects Editor: Kosta Saric
  • ADR Editor: Laura Graham
  • Additional Sound Re-Recording Mixer: James Bolt
  • Assistant Chief Lighting Technician: Chris Culliton
  • Digital Intermediate Editor: Martha Pike
  • ADR Engineer: Derek Casari
  • Makeup Effects: Gabriel De Cunto
  • Assistant Sound Editor: Andrew Bock
  • First Assistant Sound Editor: Linda Yeaney
  • Visual Effects Editor: Tom Barrett
  • Special Effects Technician: Robert Alidon
  • CG Animator: Matthew Hackett
  • Casting Associate: Nicole Hilliard-Forde
  • Key Costumer: Mary C. Lane
  • Foley Supervisor: Christopher Flick
  • Digital Colorist: Jack Lewars
  • Steadicam Operator: Harry K. Garvin
  • Quality Control Supervisor: Timothy Michael Cairns
  • Digital Color Timer: Tommy Hooper
  • Telecine Colorist: Eric Putz
  • First Assistant Editor: John Lee
  • I/O Supervisor: Brian Cuscino
  • Rigging Grip: Oscar Gomez
  • First Assistant Camera: Robert Hill
  • Focus Puller: Andrew Stroud
  • Construction Foreman: James Arrigo
  • Standby Painter: Anthony Gaudio
  • Key Grip: Chris Centrella
  • Hairstylist: Edith I. Amezcua
  • Seamstress: Marcelina Barraza
  • Set Costumer: Javier Arrieta
  • Set Dresser: Giovanni Bianchini
  • Armorer: Steve Auvenshine
  • Craft Service: Orlando Chongo
  • Driver: Tom Gilhooley
  • Loader: Sal Alvarez
  • Post Production Assistant: Sassica Francis-Bruce
  • Projection: Larry Hoki
  • Propmaker: Bobby Mara
  • Sequence Supervisor: Jay Cooper
  • Set Production Assistant: Heather Anderson
  • Technical Supervisor: Brian Gee
  • Unit Publicist: Sandy O’Neill
  • Video Assist Operator: Adam Barth
  • Layout: Dani Morrow
  • Best Boy Electric: Rick Maddux
  • Electrician: Willie E. Dawkins
  • Gaffer: David Lee
  • Lighting Artist: Michael Sean Foley
  • Lighting Technician: Derick Pritchard
  • Production Accountant: Jen Hutchinson
  • Production Office Coordinator: Derek Jan Vermaas
  • Researcher: Brice Criswell
  • 3D Supervisor: Christopher Bonnstetter
  • Storyboard Artist: David Russell
  • Translator: Quincy Perkins
  • Second Assistant Director: David M. Bernstein
  • CG Animator: Yuichiro Yamashita
  • Pilot: Ivor Shier
  • Dolly Grip: James D. Wickman
  • Negative Cutter: Gary Burritt
  • Ager/Dyer: Julia Gombert
  • ADR Voice Casting: Louis Elman
  • Foley: Nancy Parker
  • Assistant Property Master: Richard F. Anderson
  • Dolly Grip: Brian Rosso
  • Grip: Raúl Cortés
  • Tailor: Rosa Isela Atondo
  • Animal Wrangler: Jesus Chavez
  • Marine Coordinator: Rick Hicks
  • Assistant Production Coordinator: Daniel A. Mondschain
  • Lead Animator: Michael Hemschoot
  • Matchmove Supervisor: Talmage Watson
  • Second Unit: Joaquin Cervera
  • Key Rigging Grip: Jeff Kluttz
  • Visual Effects Assistant Editor: Paul Vega
  • Graphic Designer: Jane Fitts
  • Assistant Director: Michelene Mundo
  • Assistant Accountant: Christopher Ciketic
  • Post Production Coordinator: Marisa Clayton
  • Makeup Artist: Erin Henriques
  • Best Boy Grip: Michael James Fahey
  • Second Second Assistant Director: Steven F. Beaupre
  • Construction Buyer: Gabriel Pérez
  • Property Buyer: Liza Rudolph
  • Textile Artist: Sandra O’Toole
  • ADR Recordist: Robbie Ashhurst
  • Visual Effects Production Assistant: Jessica O’Keefe
  • Additional Second Assistant Camera: Michaele Shapiro
  • Assistant Camera: Mike Cahoon
  • Camera Trainee: Sergio Berry
  • Second Assistant Camera: Paul Gonsoulin
  • Assistant Editor: Anna Josenhans
  • Colorist: Kent Pritchett
  • CG Artist: Robert Bourgeault
  • Compositing Supervisor: Jeff Doran
  • Extras Casting Assistant: Claudio Bautista
  • First Assistant Accountant: Lucy Amador
  • Production Driver: David Travis Grieb
  • Production Executive: Kimberly Cooper
  • Researcher: Mimi Munson
  • Rotoscoping Artist: Daniel Becerra
  • Second Assistant Accountant: Tom Chung
  • Accounting Clerk Assistant: Matthew Humphreys

Movie Reviews:

  • John Chard: For England, for home, and for the prize!

    Master and Commander: The Far Side of the World is directed by Peter Weir, it stars Russell Crowe as Jack Aubrey and Paul Bettany as Stephen Maturin. It is spliced from various novels in the Aubrey–Maturin series written by Patrick O’Brian. The film takes place during 1805, during the Napoleonic Wars and finds Captain Jack Aubrey and the crew of British frigate HMS Surprise ordered to intercept, destroy or take as a prize the French privateer Acheron. But the Acheron (The Phantom as the crew of the Surprise call her) is no ordinary ship, and her Captain is smart. So Lucky Jack has his work cut out; not only in the pursuit of the Acheron, but in harmonising the crew under his command. Especially his loyal and trusting friend Stephen.

    It’s pretty evident within the first few minutes of Master & Commander that this is no standard blockbusting naval based war movie. If you are after, or was expecting, a wave to wave Bruckheimer carnage a-like piece, well you best, or should have, stay(ed) away. For this is a Peter Weir movie, in fact this is a Peter Weir “period” movie, where attention to details and character dynamics are the order of the day. There’s battle action here for sure, beginning and end, and terrific they are too, as first cannonballs crack and splinter their targets (note the sound work here), and later as blade meets blade – it’s exhilarating stuff alright. However, this is more interested in palpable tension, both on deck and on the waves. Threat is never far away, again, this is is covered by the impending duel with the Acheron and Aubrey’s tactical pursuit/escape of her. As the Aubrey machinations unfurl, the crew give us a series of character dramas to involve us in the make up of a man-o-war’s personnel. How different classes and males (there’s not one female in the film) of all ages have to work together as one efficient unit in order to survive and triumph. Except for an interlude spent on the lusciously filmed Galapagos Island (Russell Boyd Best Cinematography Academy Award Winner), the film is set 99% of the time out at sea, on a cramped ship, this tells you that Weir is interested in telling a character driven story, one that is cloaked in realism above all else.

    The teaming of Weir with the highly rated O’Brian material looked a good one, and to someone like me who has never read an O’Brian novel, it is. Unsurprisingly many of O’Brian’s fans have been upset by either the stuff missing in the film, the stuff put in to fully form Weir’s vision of the characters, or for Crowe not being Pugwashy enough. These complaints were inevitable since they come with practically every adaptation of novels these days. It should be noted, though, that Weir was very much a fan of O’Brian, and in fact always felt inspired by the tight intricate detail of his writings. What of the author himself? Well he passed away three years before the film was released, but he had always envisaged Charlton Heston for the role of Aubrey. So, who in the modern era comes closest to Heston’s physical presence on screen, why Russell Crowe of course. Who not only brings that to the character, but also depth, because Aubrey comes with many traits. Strength, honour, stubbornness, leadership and loyalty are a given for a Captain on the high seas. Yet Aubrey is also vulnerable, self aware, playful, knows his limitations and is able to laugh at himself. Crowe peels off each layer and delivers a high quality performance – from our first encounter with Crowe as Aubrey, the realism so loved by Weir is given a shot in the arm – and it stays throughout the movie.

    So an excellent piece of casting then, as is that of Paul Bettany as ships surgeon, science and nature lover, and best pal of the Captain, Stephen Maturin. Bettany and Crowe had formed a friendship on 2001’s A Beautiful Mind, where their on screen chemistry lifted an already fine film, to an even better one. So it be here also. Stephen & Jack’s relationship is the core of the piece, two very different men yet as tight as two peas in a pod, with Stephen serving as the code breaker for the audience as sea talk and tactical intrigue weaves in and out of the story. It’s there where Bettany excels, for he not only has us believing in this warm (platonic) friendship, he’s also got us rooting for him since he is in essence the odd man out on this ship. Our sympathy is firmly with him, our friendly rebel if you please. Of the rest there’s note worthy turns from Billy Boyd, James D’Arcy & Edward Woodall, while Lee Ingleby gives a really heartfelt and emotionally engaging turn as the haunted Hollom.

    The film is not without flaws, though. The pace of the piece does slip from time to time, while the talky middle section may stretch the patience of some, and the film isn’t long enough to give the main characters some back story for the audience to work off. Yet it’s still a terrific movie, ripe with intelligence and interesting characterisations, and boasting enough adrenalin, humour and upset to fill out a big budgeted 1950s historical epic. So get on board folks, for this is quality film making and it demands to be seen via the best format available. 9/10

  • Peter McGinn: This is a rousing sea yarn with great camera work, but it also shows comraderie and relationships in a realistic way on board a British fighting ship.

    As happens sometimes but not always, I enjoyed this movie more than I liked the book it was based upon. O’Brian has written a lot of great sea tales, but this one confused me. I felt like checking to see if the pages were in the correct order. The story seems simplified in this adaptation. (Some may say that is not a good thing!)

    The first several minutes of the film move the viewer around the ship, and I felt like It was a realistic representation of what it was like to sail on it. The creaking and other ever-present noises, the tight spaces allotted to the crew, all helped me feel like I knew what it was like more than just reading about it.

    There are a lot of characters aboard ship, so out of necessity some of them never really developed, but even the glimpses we get of them here and there illustrate that they are people, not stereotypes. There were a few rather unlikely plot turns later on in the film, but by then I was drawn into the story and right there with the crew, so I forgave them. I have watched Master and Commander twice so far, and wouldn’t be averse to seeing it again.

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