CMBA Hitchcock Blogathon: âSalvage vessel â

Thanks to a sharp script and the deft directorial skills of Alfred Hitchcock, “Lifeboat” is a strong wartime drama that avoids the flag-waving fare found in other films of its time.Perhaps that’s what kept people away from theaters when it was initially released in 1944, as wartime audiences wanted reinforcement in black-and-white terms, not movies that made you explore the gray areas of human nature. But it’s this examination that gives “Lifeboat” a timeliness that feels fresh today. In a way, it’s an unsettling film because it shows how we haven’t come very far in terms of dealing with people who are different from us.“Lifeboat” tells the story of a group of survivors from a battle between! an American ship and German U-boat, both of which sink. Globe-trotting reporter Constance Porter (Tallulah Bankhead) is alone in the lifeboat until others spot her in the mist. She helps aboard a variety of survivors: sailor Gus Smith (William Bendix), whose leg has been badly hurt in the tragedy; crew member John Kovac (John Hodiak), who takes an immediate dislike to Connie’s superior ways; Joe (Canada Lee), an African American steward; Sparks (Hume Cronyn), a journeyman sailor; Alice (Mary Anderson), a volunteer making her way to England; Ritt (Henry Hull), a wealthy American industrialist; and Mrs. Higgins (Heather Angel), a woman traveling with her baby.What sets the others on edge is the final surviv! or they pluck from the water: Willy (Walter Slezak), the capta! in of th e German U-Boat. Kovac wants to throw him overboard immediately; Sparks says Willy is their prisoner and should be handled properly until they are rescued and can hand him over to the authorities. The others agree, although they distance themselves from Willy, wary that they can’t understand him. They also suspiciously eye Connie, who can speak German and can fire off barbs as quickly as a machine gun. Ritt assumes control of the boat until Kovac appoints himself as being in charge.From the beginning, the story makes interesting observations. As survivors are pulled on board, it’s Connie and Ritt who chat like old friends catching up over a drink, oblivious to the others who are pulling survivors aboard, assessing their health and clearing the debris from the ship. This social distinction initially keeps these groups apart from each other. Even when Ritt starts making decisions, it’s the rich industrialist lording over everyone else. But then, in giving everyone a vote! on what happens, Ritt also extends that courtesy to Joe. In 1944, Joe would not have the right to vote in the U.S. So this is a surprising turn than may be lost on modern viewers, one that signals that life will be very different on this boat.As the days pass, the survivors either work together, pair off in friendships or bicker at each other. The trustworthiness of Willy is constantly debated, with some willing to hate him simply because he is the enemy.“Lifeboat” unfolds beautifully, and I won’t give away any more. The story was written by John Steinbeck in collaboration with Hitchcock, and Jo Swerling wrote the screenplay. I love the questions they ask, touching on class and race and whether it’s acceptable to hate when you know nothing about the person, regardless of whether it’s wartime. The pacing is perfect, with the action, tension and observations carefully mixed together for maximum interest.The film was made during the time when Hitchcock was under con! tract to David O. Selznick. When Selznick dissolved Selznick I! nternati onal Pictures by the end of 1940, he packaged his talent and loaned them out to other studios. Therefore, Hitchcock was working all over Hollywood, building on his reputation that started in Hollywood with “Rebecca.”He most recently completed “Shadow of a Doubt” at Universal, and “Lifeboat” was to be the first of a two-picture deal at 20th Century Fox. He’d also done well with war-themed movies before, such as “Foreign Correspondent” in 1940. But almost from the beginning, Hitchcock and Fox head Darryl F. Zanuck clashed. In fact, the movie took far longer to make than expected, and Zanuck was upset with both the rising costs and a story too hard to market. It didn’t help that many of Zanuck’s leading men were away at war, so the cast was not filled with recognizable names, thus another challenge for selling the film.In the end, the movie went wildly over-budget, costing more than $1.5 million, and didn’t come close to earning back its cost. Hitchcock ! did not make that second film for 20th Century, disturbed by the failure of "Lifeboat" to make money.Meanwhile, the cast (Hodiak and Bankhead with Hitchcock, below) enjoyed working with Hitchcock, even if he was controlling. The entire movie takes place on the lifeboat and was shot in the studio tank, with a lifeguard constantly on duty in case of accidents â€" which was a good thing when Cronyn fell overboard and was nearly drowned by the machine making waves. The cast all suffered their share of seasickness, as Hitchcock kept the boat moving throughout production. Hitchcock’s methods may seem rough to some, but the results were brilliant. His direction serves the story and the plot without becoming more im! portant than them, and he seamlessly integrates a variety of s! hots int o the narrative.For example, the opening credits roll over the sinking of a ship. The camera then pans the water, and just from the debris you know what’s happened. Some objects are domestic, reflecting non-military personnel on board. Then you come across the back of a drowned German in his life jacket, which denotes the Germans also had casualties.Soon after, the camera finds the lifeboat and Connie sitting alone in it. It's a startling shot, as she’s perfectly coiffed, wearing her mink, her bag by her side, as if she’s waiting for a taxi. She then picks up a camera and begins taking footage of another survivor swimming toward the boat. Hitchcock allows the audience to see this through the viewfinder on the camera.In another great scene, an approaching storm is nicely juxtaposed with Connie and Kovac fighting. The boat is rolling, and the close-ups of each actor find them swaying within the frame and slightly out of the frame. One scene with a quick rainstorm has the! survivors grabbing a tarp to collect the water. Hitchcock focuses on the tarp, with the splattering raindrops coming to a halt and a shadow appearing on the tarp, representing the sun coming out. He then slowly pans up and you see the disappointment and despair in the survivors’ faces.It’s these kinds of shot selections that makes this boat seem larger that it is, and you forget he was working on a single set. Even the way Hitchcock manages to get his cameo into the movie is ingenious (and you’ll just have to watch to see how he does it).There’s little musical score here, and that adds to the realistic feel. Another reason I like “Lifeboat” is that it could be set during any war. The World War II lingo and symbolism is kept to a bare minimum, allowing the story to play itself out according to human nature. And perhaps this is why the movie didn’t connect with viewers initially.Critics were divided upon its release. Some adored it; others, like Dorothy Thompso! n, hated it. She famously wrote, “I’ll give the film three! days to get out of town.” The Academy did remember the movie during awards season, as Hitchcock earned the second best director nomination of his career. Nominations also came for Steinbeck and cinematography. It’s a shame the movie was overlooked. Had the Academy not reduced the number of best picture nominees from 10 to five that year, it’s a given the movie would have been nominated.As for the cast, Bankhead is marvelous. Smart, sarcastic, biting, even funny, she breathes life into Connie. Bankhead won the New York Film Critics best actress award that year but was sadly overlooked by the Academy. It’s a real shame that the outspoken Bankhead â€" who certainly had as many enemies as she had friends â€" didn’t make more movies, preferring to spend time on stage instead.The rest of the cast is equally terrific. If Zanuck didn’t have the stars he needed to sell the film, Hitchcock liked the fact that his cast was relatively unknown. He didn’t want audiences to be on th! e lookout for their favorite stars being hauled on board or have preconceived notions of the types of characters they would play.The cast was also surprised by the film’s failure. They felt the intelligent story ultimately provided what could rally audiences during this period of war.It’s hard to give “Lifeboat” its proper due in print. Its look at the gray areas of human nature â€" as well as an ending that comes with an observation rather than a clichéd situation â€" makes this a thought-provoking drama that feels fresh rather than dated. Hitchcock pulled off what should have been impossible, what lesser directors would have made predictable. It’s one of the best films he made during the 1940s.* * * * * * * * * * * * * * *I am honored to be part of the Hitchcock blogathon sponsored by the Classic Movie Blog Association. Below are links to the other blogs participating in the blogathon. In case I’ve missed someone, please check out the CMBA web site. The Birds! â€" Classic Film and TV CafeDial M for Murder â€" True Classi! cs: The ABCs of FilmThe Lady Vanishes â€" MacGuffin Movies The Man Who Knew Too Much â€" Reel Revival Marnie â€" My Love of Old Hollywood Mr. and Mrs. Smith â€" Carole & Co. North By Northwest â€" Bette’s Classic Movie Blog Notorious â€" Twenty Four FramesThe Pleasure Garden â€" Thrilling Days of YesteryearRear Window â€" Java's JourneyRebecca â€" ClassicBecky's Film and Literary ReviewRope â€" Kevin's Movie Corner Shadow of a Doubt - Great Entertainers Media ArchiveThe 39 Steps â€" Garbo LaughsThree Classic Hitchcock Killers â€" The Lady Eve's Reel LifeTorn Curtain - Via Margutta 51The Trouble with Harry â€" Bit Part Actors Vertigo â€" Noir and Chick FlicksThe Wrong Man â€" The Movie Projector
Great classic films, best all time movies