Lifeboat (The Hitchcock Collection) |  | Director: Alfred Hitchcock
Actors: Tallulah Bankhead, John Hodiak, Walter Slezak, William Bendix, Mary Anderson
Studio: 20th Century Fox
Category: Video
List Price: $12.98
Buy Used: $1.40
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Avg. Customer Rating:  83 reviews
Sales Rank: 6367
Format: Black & White, Closed-captioned, Full Screen, Hifi Sound, Ntsc
Language: English (Original Language)
Rating: NR (Not Rated)
Media: VHS Tape
Number Of Items: 1
Running Time: 97
Shipping Weight (lbs): 0.6
Dimensions (in): 8 x 4.2 x 1.3
ISBN: 6301798732
UPC: 086162139338
EAN: 9786301798730
ASIN: 6301798732
Theatrical Release Date: January 12, 1944
Release Date: December 9, 1997
Availability: Usually ships in 1-2 business days
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Amazon.com
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
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| Customer Reviews: Read 78 more reviews...
 Tallulah rocks! September 14, 2008
0 out of 1 found this review helpful
Sometimes greatness can be achieved in a singular way, even if the totality of a work of art is not great. This came to me upon watching one of my dad's all time favorite films, and one which I have watched several dozen times in my life- Alfred Hitchcock's 1944 black and white Lifeboat, which is also one of the three or four best films Hitchcock ever made, and did receive Academy Award nominations for Best Direction, Best Cinematography, and Best Original Screenplay. While I am not a rabid devotee of Hitchcock, because most of his thrillers are filled with rather cardboard cutout characters, despite the films' technical excellence, this is still probably my favorite Hitchcock film; not only because of the memories of watching it with my dad, but because it is one of the least Hitchcockian films in his canon- in terms of its relative lack of formulaic suspense, and because of the great and inimitable Tallulah Bankhead (one of my dad's favorite actresses), who utterly dominates every scene of the film she's in.
The film's greatness comes in the way it realistically sketches human reactions and nature in extremis, even as it relies on some of the grossest human caricatures, stereotypes, and is a blatant bit of agitprop. That said, and given the limitations of having the film set totally in a boat, that Hitchcock comes even within spitting distance of the film being a great work of art (it's not; it misses by a hair, for the flaws mentioned) is, itself, evidence of greatness at work. It is also one of the most brilliant and odd character studies on film.
The very schizophrenic screenplay, which alternately depicts real human emotions in characters blatantly constructed to teach a didactic lesson, and be props to push the tale forward (i.e.- how convenient it is to have both a doctor and a nurse in the same boat when another character's leg needs to be amputated; among many), and then reduces them to utter stereotypes, was adapted from an original novella, of the same title, that Hitchcock commissioned John Steinbeck to write. When Steinbeck was done, and went off to the Second World War, Hitchcock hired playwright Jo Swerling to punch up the dialogue.... For Hitchcock fans, wondering how the director snuck in his cameo, it's when Gus is reading a newspaper, and we see an ad for a diet pill- Reduco, which features before and after pictures of Hitchcock. That same gag was reused in Rope. If Lifeboat is not a great film, it's damned close, and given all the technical and script problems it had to overcome, that's a hell of an achievement, for, unlike many Hitchcock films, this one can be seen over and again and force deeper conversation each time, because it is not dependent upon a simple-minded twist ending. Thus, despite all its failings, Lifeboat is a true work of art, something its heroine has also been called. Viva recapitulation!
 "Man Overboard!" September 9, 2008
Walter Slezack and Talluluh Bankhead steal the show in this classic Hitchcock movie. "People in lifeboats tend to 'act up,'" as we have seen in the original Titanic with Clifton Webb and Barbara Stanwyck and more notably in this wonderful movie. Hitchcock's genius comes through with more artistic subtlety and mysterious beauty than in some of his more blatantly diabolical productions--cresting and falling ocean waves are the backdrop for the rich black and white tones, a microcosm contained within the confines of the lifeboat. Histryonic babblings of the characters are better than any musical score.
Good, but not Great July 10, 2008
0 out of 1 found this review helpful
Being a compulsive Hitchcock fan, I have a difficult time not giving every one of his films 5 stars, but I have some reservations with this film.
Obviously this is a propaganda film for the Allies in WWII. With this in mind, I realized there would be melodramatic, patriotic and democratic dialogue--and there was almost instantly. But my difficulty and problems lie mostly with my confusion about what I was supposed to feel. The message is not clear. I find this troubling since Hitchcock, being the master, was always able to control his audience without them ever knowing (remember during Psycho, when suddenly the car NOT going into the lake scared you, and you may have noticed later that your allegiance shifted, without a conscious decision, from Marion to Norman?).
Regardless of that, Tallulah Bankhead was marvelous, as was Canada Lee (even in his confined role of George "Joe" Spencer).
Great for WWII propaganda, but a little lacking in the Hitchcock--still a great movie. Recommended.
 Poor quality DVD not as advertised July 9, 2008
0 out of 3 found this review helpful
The DVD would not work in any of my machines. When the DVD was returned I was credited a small amount of what I had paid for it.
lifeboat June 21, 2008
This is a time less classic. What a great movie! They don't make them like this any more
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