Other Titles • Lifeboat (1944) • Das Rettungsboot (1974)
Synopses for Lifeboat (1944)
1.
Part mystery, part wartime polemic, Lifeboat finds director Alfred Hitchcock tackling a cinematic challenge that foreshadows the self-imposed handicaps of Rope and Rear Window. As with those subsequent features, Hitchcock confines his action and characters to a single set, in this instance the lone surviving lifeboat from an Allied freighter sunk by a German U-boat in the North Atlantic. A less confident, ingenious filmmaker might have opened up John Steinbeck's dialogue-driven character study beyond the battered boat and its cargo of survivors, but Hitchcock instead revels in his predicament to exploit the enforced intimacy between his characters.
Indeed, we never actually see the doomed freighter--the smoking ship's funnel beneath the credits simply sinks beneath the waves, and we're plunged into the escalating tensions between those who gradually find their way to the boat, a band of eight English and American passengers and crew, plus a German sailor (Walter Slezak) rescued from the U-boat, itself destroyed by the freighter's deck gun. Heading the cast and inevitably commanding their and our attention is the cello-voiced Tallulah Bankhead as Connie Porter, a cynical, sophisticated writer whose priorities seem to be hanging onto her mink and keeping her lipstick fresh. Gradually, the others find Porter and her lifeboat, forming a temporary community that inevitably suggests a careful cross section of archetypes, from wealthy industrialist (Henry Hull) to ship's boiler men (John Hodiak and William Bendix).
Hitchcock juggles the interpersonal skirmishes between the boat's occupants with the mystery of their German prisoner, which itself becomes a meditation on the fine line between nationalism and morality, a line that Slezak walks delicately until his identity is resolved. Visually, Hitchcock transforms his back-lot set and its rear-projected cloudbanks into a desolate stretch of ocean, while capturing the horror of an amputation through an economical set of images culminating in an empty boot. --Sam Sutherland
(15 votes)
2.
LIFEBOAT is an intense thriller crafted around the psychological drama produced when eight unlikely companions are thrown together by drastic circumstance. The exceptional performances of its ensemble cast make it a classic, one credited with reviving Tallulah Bankhead’s career. After a German U-boat torpedoes their ship, several survivors find themselves together in a lifeboat. Each is of a distinctly different background: Tallulah Bankhead’s character, the radiant Constance Porter, is a famed fashion writer; others include tycoon Charles Rittenhouse (Henry Hull), marxist seaman John Kovac (John Hodiak), Stanley Garret (Hume Cronyn), a radio operator, a wounded furnace stoker, a nurse, a grieving mother, and a porter. The group is joined by the commander of the German U-boat (Walter Slezak), which was itself sunk in the exchange. Choosing to take him aboard as a gesture of humanity, and for the sake of his seafaring skills, proves to be a fateful decision. Production was done almost entirely in studio, using a range of specialized water sets and props to allow Hitchcock to achieve the camera angles he wanted while employing rear-projected seascapes shot off the coast of Florida.
(15 votes)
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