San Demetrio

San Demetrio, London tells a simple story in a plain way. A merchant vessel from England sails to Galveston, picks up a cargo of oil and on the way back across the Atlantic is attacked. The crew abandon ship and later some of them re-board her and take her back home.

It is an inspiring story because it tells of ordinary people getting on with the job that, due to a world war, has to be done. These are modest heroes. Problems that come their way are solved unfussily. No one expects medals, they just get on with it. Being a war film the characters are the usual cross section of society united by the common peril. In the cold and the darkness they do their duty. You feel these are real people, not just actors.

This is not a spectacular film. The director does not go for high drama or self conscious acting. There is a death scene which is powerful in its understatement. The narrative is straight forward but exerts a gentle grip. You want to know what happens in the end. This is definitely an under rated film

Just amazed this film has never been remade. It's true story, certainly as seen in this low budget British wartime production, seems a perfect fit to get the 21st century, much bigger budget treatment. In the right hands, it could be a terrific cinematic spectacle as the story behind the film has really got it all. Merchant naval convoys and battles, heroism demonstrated not just on the part of the crew of the San Demetrio, but that of other ships too, especially the Jervis Bay, North Atlantic tempests, humour, pathos and in general a wonderfully marine-based, collective survival story.

In the interim, I guess we'll have to be satisfied with this low key instalment featuring a very young Gordon Jackson (as the mess boy would you believe) and regular Welsh mainstay character actor of British 40's and 50's films, Mervyn Johns (father of Glynis), playing the stoic, ill-fated, but delightfully named Greaser Boyle, who demonstrates on more than one occasion, that he was always prepared to take one for his fellow crew mates without complaint.

San Demetrio, London gives an interesting account of a British Oil Tanker which was attacked and abandoned by her crew, only to find the ship stayed afloat. Good performances and an interesting perspective, as the film was released during WW2.

Just for the record, "San Demetrio London" is not a religious movie, and it has nothing whatever to do with any sort of sacred personages. In fact the characters depicted in this movie are quite the antithesis.

"San Demetrio" was the name of a ship, a British commercial tanker operated by the Eagle Tanker Company, that was sailing during World War II. The incredible story recounted in the film is true, and the jaw-dropping ordeal endured by the members of the crew took place exactly as depicted. Without giving the story away, suffice it to say that, had these men been members of the military rather than mere civilian merchant seaman, it is very likely that every one of them would have been awarded the Victoria Cross.

I had heard of this movie for many years but only recently finally got the opportunity to actually view it. It is an extremely dramatic story told in a very simple and straightforward manner. That is as it should be, because the story itself is so dramatic that no embellishment is necessary, and would probably only diminish the impact of the story.

It is acknowledge that some of the special effects are less than first-quality by today's standards. However, allowances must be made for the fact that this film was produced in Britain in 1943, and there was a war on. That being said, the depiction of the tanker itself, and the details of the manner in which it was operated, are extremely accurate. I've sailed on several elderly merchant ships that had been built during WW-II, including an old T2 tanker, and I can vouch for the movie's authenticity. This is not altogether surprising when one considers that "San Demetrio London" was directed by the same man who later made "The Cruel Sea". Highly recommended as a depiction of WW- II at sea.

Made during the pre-Ealing comedy era, when the studio was turning out a slew of propagandist dramas with a documentary feel (others included WENT THE DAY WELL? (1942), and THE FOREMAN WENT TO France (also 1942)), SAN DEMETRIO London tells the story of a British merchant ship blown up in 1940. The crew spend some time marooned in a life-boat, but eventually return to the stricken ship and manage to patrol it back to safety in the United Kingdom.

Co-directed by Charles Frend and Robert Hamer, the film has its roots in documentary, ranging from the use of stock footage to the way in which it examines the lives of ordinary sailors coping with extraordinary situations. The plight of Greaser John Boyle (Mervyn Johns) is sensitively handled, as he quite literally works himself to death and passes away at sea, dreaming of the nylon stockings he has bought for his wife as a present. He is given a funeral with full naval honors. Likewise Messboy John Jamieson's (Gordon Jackson's) transition from callow youth into mature deckhand is cleverly depicted, as some of his suggestions - initially dismissed as impractical by Chief Engineer Pollard (Walter Fitzgerald) turn out to be inspired, helping the crew survive their ordeal.

The film as a whole extols the value of community, of human beings setting aside their regional and national differences and learning how to pull together in times of extreme stress. "Yank" Preston (played by the Canadian Robert Beatty), an American passing for a Canadian, begins the film as something of a rebel, preferring the bottle to the responsibility of hard work, but soon proves to be an invaluable member of the crew. It is he who provides the Bible so that Boyle can be given an appropriate send-off to the other world. Even though the bombing of British cities had largely ceased by 1943 - the time of the film's release - it was important that people on the Home Front bonded together to aid the war effort, and SAN DEMETRIO London fulfilled an important purpose in communicating this message.

As befits a studio relying mostly on performances and directorial cunning rather than elaborate special effects, the film concentrates on characterization rather than incident. Some of the action sequences might seem a little rudimentary now - especially with the use of back-projections - but we have to remember that the film was produced under difficult conditions with a limited budget. Directors Frend and Hamer make skillful use of such constraints to produce a film that is at once surprisingly touching as well as stirring in its impact.