British cinema had its most distinguished period after WW2, notably between 1945 and 1970, during which time it produced masterpieces that ranged from comedies (KIND HEARTS AND CORONETS, other Ealing comedies; supernatural/psycho horrow films such as DEAD OF NIGHT, THE INNOCENTS; love stories like BRIEF ENCOUNTER; and war films like DAM BUSTERS, CRUEL SEA, COLDITZ STORY. BRIDGE ON THE RIVER KWAI, FIVE FINGERS, WE DIVE AT DAWN, GUNS OF NAVARONE, ABOVE US THE WAVES).
I am fond of the latter. I first saw it on TV in Swaziland, Africa, and was promptly impressed by the British stiff upper lip, as portrayed by a fantastic cast that includes such solid actors as James Robertson Justice, John Mills, Donald Sinden, John Gregson, among others - including some four or five German-speaking actors, notably the Tirpitz commander, who are totally convincing.
B&W photography is highly competent, but understandably limited because this was not a high budget film. Direction by Ralph Thomas is very tight and coherent, with scenes in the submarines particularly effective, highlighting all the potentially deadly hazards.
Screenplay also a tad limited, but credible. Ending is an example of simplicity and effectiveness, with John Mills quietly but perceptibly bitterly, reflecting on his upcoming detention in a camp. Strongly recommended if you are interested in 1) British film making; 2) Solid acting; 3) WW2.
I am fond of the latter. I first saw it on TV in Swaziland, Africa, and was promptly impressed by the British stiff upper lip, as portrayed by a fantastic cast that includes such solid actors as James Robertson Justice, John Mills, Donald Sinden, John Gregson, among others - including some four or five German-speaking actors, notably the Tirpitz commander, who are totally convincing.
B&W photography is highly competent, but understandably limited because this was not a high budget film. Direction by Ralph Thomas is very tight and coherent, with scenes in the submarines particularly effective, highlighting all the potentially deadly hazards.
Screenplay also a tad limited, but credible. Ending is an example of simplicity and effectiveness, with John Mills quietly but perceptibly bitterly, reflecting on his upcoming detention in a camp. Strongly recommended if you are interested in 1) British film making; 2) Solid acting; 3) WW2.