Στον ίσκιο του θανάτου

phoebe 💫4.0

This is simply some of the most watchable shit. I’m so completely fascinated by this movie that I can’t even put its wack, sexy energy into words. People DIE on this boat. People discuss RACISM and ANTI-SEMITISM on this boat. People FALL IN LOVE on this boat. People BETRAY EACH OTHER on this boat. Twenty minutes in everybody starts to look really rugged and wind-swept and attractive. Also the energy between Connie and Kovac? Nuts. He’s a communist sailor who’s shirtless the entire movie, has tattoos all over his chest, and bears a striking resemblance to Billy Zane. She’s Tallulah Fucking Bankhead, playing essentially herself or maybe Dorothy Parker. At one point she draws her initials on his bare chest with her lipstick. It’s amazing. Inglourious Basterds WHO I only know the lifeboat gang.

Pottlekid4.0

Connie needs for find out what that BM tattoo stands for before taking things any further with Kovac. Enjoyed the unpredictability of this, plus had decent tension and high stakes. Glad no one thought of cannibalism, read a book on the whaling ship Essex recently and didn’t want to relive that gruesomeness. Clever Hitchcock cameo. I’d kick the Nazi off the boat for that signing. Liked Connie’s arc.

theriverjordan4.0

There has never been an actor so confidently, outrageously and iconically out of place as Tallulah Bankhead in “Lifeboat.” The actress, as a society writer cast out to sea, has such a pull over “Lifeboat’s” rudder that she transforms the film around her essence. And what an essence it is. “Lifeboat” is something of a seabound chamber play. An ensemble of American survivors from a u boot bombing attempt to carry on (without quite keeping calm) until they reach rescue. Alfred Hitchcock, working from a script initially penned by John Steinbeck, executes a shrewd cleverness over who or what is the villain of the piece. The narrative and characters are compelling enough even if they are working only against the threats of nature, and not each other. The addition of the German u boot captain to the mix puts the audience as off their footing as the survivors; trusting the man’s acts, but not his associations. But as the survivors should be busy keeping an eye on their resident Nazi, all their gazes are instead, as are the audience’s, fixed on Tallulah. Standing in as the personification of postwar boom materialism and ambivalence, her Cartier bracelet is as disruptive as any enemy agent. “Lifeboat” is second only to “Shadow of a Doubt” in wartime Hitchcock subversiveness. The director strips his characters little by little of all frivolity; rationing them down to necessity of survival alone. And still, despite removal of all distraction, they fumble in the face of a single German.