![]() A fish strikes, but Joe sights a ship, and in the rush for the oars, the line goes overboard and the bracelet is lost. Stanley proposes to Alice, and she accepts, although they have little hope of surviving.Ĭonnie chastises everyone for giving up then offers her bracelet as bait for fish. "What do you do with people like that?" No one answers. Later, Rittenhouse says that he will never understand Willi's ingratitude. In anger, they descend upon Willi as a group, all but Joe, to beat Willi and toss him from the boat to his death. Willi explains that like everyone on a U-boat he had food tablets and energy pills. ![]() When the inhabitants realize that Willi does actually have a flask of water, Joe pulls it from Willi's shirt, but it breaks. Gus' calls for help rouse Stanley and the others, but it is too late. While the others sleep, Willi pushes him over the side. Gus tries to tell Stanley but Stanley doesn't believe him. Gus Smith, who has been drinking seawater and is hallucinating, catches Willi drinking water from a hidden flask. ![]() Kovac takes charge, rationing the little food and water they have, but Willi, who has been consulting a concealed compass and reveals that he speaks English, wrests control away from him in a storm. The passengers also cooperate through this stress, such as when they must amputate the leg of one of their boatmates, the injured Gus Smith. The inhabitants attempt to organize their rations, set a course for Bermuda, and coexist as they try to survive. Willi is revealed to be the U-boat captain, rather than a mere crewman. She jumps off the boat in Porter's mink coat, while the other passengers sleep. Higley, a young British woman whose infant child is dead when they are pulled from the water, must be tied down to stop her from hurting herself. Porter is thrilled at having photographed the battle, but her photo camera is the first of her many possessions to be lost overboard in a succession of incidents. However, the others object, with radioman Stanley, wealthy industrialist Rittenhouse and columnist Connie Porter succeeding in arguing that he be allowed to stay. During an animated debate, engine room crewman Kovac demands the German be thrown out to drown. Willi, a German survivor of the U-boat is pulled aboard. Plot Įight British and American civilians, service members and United States Merchant Mariners are adrift in a lifeboat after their ship and a German U-boat sink each other in combat. Though highly controversial in its time for what many interpreted as its sympathetic depiction of a German U-boat captain, Lifeboat is now viewed more favorably and has been listed by several modern critics as one of Hitchcock's more underrated films. Bankhead won the New York Film Critics Circle Award for Best Actress. The film received three Oscar nominations for Best Director, Best Original Story and Best Cinematography – Black and White. The first in Hitchcock's "limited-setting" films, the others being Rope (1948), Dial M for Murder and Rear Window (both 1954), it is the only film Hitchcock made for 20th Century Fox. The film is set entirely on a lifeboat launched from a passenger vessel torpedoed and sunk by a Nazi U-boat. ![]() It stars Tallulah Bankhead and William Bendix, alongside Walter Slezak, Mary Anderson, John Hodiak, Henry Hull, Heather Angel, Hume Cronyn and Canada Lee. We present a generous sampling of his work, in conjunction with some of Hitchcock's finest two “masters of suspense,” together at last.Lifeboat is a 1944 American survival film directed by Alfred Hitchcock from a story by John Steinbeck. In a use of genre similar to his other great influence, Fritz Lang, “the stories he chooses become the frameworks for clear-eyed subtle explorations of guilt, innocence, and accountability,” wrote Stephen Holden in the New York Times.Ĭhabrol passed away in September, aged eighty, having made over sixty films. “You have to avoid taking yourself too seriously.” Unlike Hitchcock, though, Chabrol hits harder, with a steely condemnation of bourgeois values and a weighty moral resonance in his tales of infidelity, suspense, and murder. Like Hitchcock, Chabrol is the consummate craftsman his films flow with the ease and assurance of someone who understands the power of cinema to manipulate emotion, while simultaneously embracing-and winking at-such power. Chabrol's career as a critic peaked with the 1957 publication (with Rohmer) of a pioneering study of Alfred Hitchcock he turned to filmmaking a year later, beginning a cinematic career that could arguably be described as a continuing study-and continuation-of Hitchcock. A founding member of the French New Wave, Claude Chabrol began, like his contemporaries Truffaut, Godard, and Rohmer, as a critic for Cahiers du Cinema unlike his more rigorously intellectual colleagues, however, he embraced genre filmmaking, specifically suspense films (“I love murder,” he said).
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