Lifeboat (1944)

Lifeboat (1944)

There probably aren't too many people alive today who have been waiting and yearning to see this classic as much as myself. Learning of its existence in my Group Communication class at WSU, my professor offered her course VHS copy to me as she knew I was a fanatical film buff, and VHS was long past the way of the dodo.  Regarding the latter aspect, I never gained access to the proper equipment so that I may finally check this jem.  Low and behold, my brother of all people purchased a Hitchcock DVD set that included this, finally giving me my long awaited chance to view it (don't tell him I pilfered it).  But why you may ask would I ever want to see this arguably lesser known flick by Hitch?  It all takes place on a lifeboat!  That fact alone, even if directed by Uwe Boll, would still drive an interest in me difficult to suppress.

Lifeboat brings Hitchcock and uber producer Darryl F. Zanuck together for the first time, after Hitchcock's initiation into Hollywood with David O. Selznick and the gothically grandiose Rebecca (he and Zanuck being both massive studio heads in their day).  It also brings us the viewer into a World War II movie made right in the middle of the hostile period, with the relevant mind set giving us a look into fairly topical creativity.  Confining himself and his cast of 6 or so to a set smaller than that of 12 Angry Men, we encounter a taut and tense suspense thriller of uncertainty, possibly even more fascinating/disturbing for those who saw it in 1944.

The tale is written by the inspired choice of John Steinbeck, in an original story strictly for Hollywood.  His previous works may not imply an obvious relation to a taut and tight knit thriller, but his clear thought process and creativity behind interpersonal conflict works wonders here.  As the movie brilliantly begins right after an unseen ocean battle, we find a diverse including a millionaire, a merchant marine, American sailors, and an outlandishly placed woman with just enough common ground between them to give the belief they may survive. Throw in a surprise German survivor, either a friendly private or a duplicitous Captain, and the suspense is palpable within 15 minutes of the opening.

Though Hitch may be slightly out of place in the ocean, his knowledge of how to thrill remains present, along with his excellent cinematic viewpoint.  Even in a boat, one incredibly tiny set, his vision keeps the camera tuned to many promising angles and viewpoints, avoiding monotony and boredom.  With great limitations physically, The Master succeeds beautifully.  If you're restricted to watching only 15 Hitchcock movies in your lifetime (how verrrryyyy unfortunate), make sure this one makes it to the marque.