Die letzte Fahrt der Bismarck

The British have made war and historical movies with an unrivaled consistency of quality, and Sink the Bismarck is no exception. The details are meticulous, the casting first-rate (except for a hokey voice-impersonation of Churchill), and the battle sequences marked by accuracy and fine special effects.

This otherwise fine film is marred, however, by the false depiction of one of the major characters, Admiral Lutjens, commander of the Bismarck. In the film, he is stereotyped as the typical Nazi - a Hitler sycophant, careerist and wild-eyed fanatic. This was most certainly not the historical Lutjens, who was by no means a Nazi fanatic. Lutjens was a naval hero from World War I, who served out of duty and dedication, not Nazi conviction. (Lutjens protected Jews under his command, and members of his family were in trouble for their anti-Nazi views.) This is at complete odds with his depiction in Sink the Bismarck, which I find inexcusable, given that the above information was certainly available to the production. In fact, an accurate depiction of Lutjens would have, in my opinion, added interest to the plot.

Nevertheless, Sink the Bismarck is eminently watchable and a fine addition to any war movie collection, if you bear in mind the above caveat.

For starters, this picture was thankfully filmed in black and white. This is only appropriate for gray colored ships shooting it out in the North Atlantic. The performers were, for the most part, convincing. The movie got a little risky by using a fictional character (played by Kenneth More) for the lead role, and delving a bit into his personal life. But it didn't get out of hand. The movie takes just the right amount of time in developing and depicting the important events in the eight day life of the Bismarck. I got the feeling that I was actually there and watching these events take place. The movie is essentially accurate, based on accounts I have read in books; including one by the highest ranking German survivor. The depiction of the destruction of the British battle cruiser Hood was not exactly accurate, but I would rank that a minor point. Getting the ship used in the movie to blow up the same way the Hood would probably have been more trouble than it was worth. The bottom line is the ship was destroyed and only three crew members survived.

This movie is an excellent, no-nonsense portrayal of the short and dramatic life of the legendary German battleship Bismarck.

Kenneth More plays the severe cold and uncompromising Captain Jonathan Shepard who has lost his wife in an air raid, and whose son is a naval pilot in the warfare against the Bismarck...

'Bismarck' is a super German battleship of World War II that had a short, but spectacular career...

Captain Shepard guides the distinguished campaign from the Admiralty War headquarters in London: The search, the course, the deploy and the destruction of the Bismarck under an archetype that said: 'Getting emotional about things is a peacetime luxury.'

The Bismarck's admiral (Karel Stepanek) is a Nazi officer characterized by emotional instability, presumptuous and overenthusiastic...

Sighted and bombarded by British battleships, the Bismarck is incapacitated and sunk by torpedoes on the morning of May 27, 1941.

Dana Wynter is the likable attractive lady naval officer, fitting in mood and attitude...

In the climax of the film and after the naval epic, Michael Hordern, the Commander-in-Chief of the Home Fleet, turns to his men and says: 'Let's go home, gentlemen!'

This exciting sea battle would have been better on a standard screen than in CinemaScope, as its ships were clearly 'models' using newsreels footage... Nevertheless, the film is an entertaining hunt, with good acting.

Beside the search and eventual sinking of the Bismarck, I would like to mention, that the personal drama of the British sailors increase the intensity of the picture's realism...

I agree with the other reviewers who complained that Adm. Gunther Lutjens was portrayed as being a pro-Nazi when in actuality, he wasn't. In fact, Lutjens had protested against the dismissal of Jewish officers from the Navy and when Hitler came to visit the Bismarck 2 weeks before her departure, he gave Hitler the navy salute and not the Nazi salute.

Part of the problem with this movie is where 20th Century Fox obtained their material from. They used the material in C.S. Forrester's book "The Last Nine Days of the Bismarck". In that book Forrester had portrayed Lutjens as being pro-Nazi which had 20th Century Fox researched before making the movie, would have uncovered Forrester's mistake (intentional or not). A better book was Ludovic Kennedy's "Pursuit: The Chase and Sinking of the Battleship Bismarck," but I don't believe his book had come out at the time the movie was made. 20th Century Fox should have waited until it did than to base a true event on a possibly biased book.

The German battleship Bismark was one of the finest warships ever built. She carried 8 15-inch guns and a powerful secondary battery and could make 30 knots. It wasn't one of the biggest or most powerful battleships ever built. The Japanese had the Yamato and Mushashi towards the end of the war, juggernauts with 18-inch cannons. There's a limit to gigantism of course, and in the case of battleships it had to do with whether they could fit physically through the Panama Canal, a concern the Japanese had long put behind them. So the Bismark wasn't the sort of sacred monster that sheer size would make her. But she LOOKED absolutely great. Sleek, well balanced, with her superstructure done the way an architect might have done it, not an engineer. She looked built for speed, and endurance too. For an example of the opposite trend, take a look at Rodney or Nelson. More powerfully armed, with 9 16-inch guns carried in three turrets, all set forward of the superstructure. Man, that is one ugly design. And, more than that, Bismarck's crew were highly trained and she was equipped with one of the world's best optical fire-control systems. It wasn't just luck that sank the Hood and damaged any smaller ships that go too close; it was good shooting. (Her shooting didn't fall off until that final bombardment.) Winston Churchill called her "a masterpiece of naval construction," although not in this movie. She kept large elements of the fleet pinned down at home simply by sitting in her protected port and being available.

I must have seen this movie a dozen times and each time I begin by wondering if I'll be able to sit through it again. (I've got some of the exchanges memorized.) I generally make it, though. It's too good in its own dated way to pass up.

The model work is not bad at all for its time. The reviewer who said this film called for black and white was correct. It looks cold and frightening on the North Atlantic. Almost everything would have been, or at least seemed, gray even if it had been shot in color. The peformances are up to professional standards. More is a different character here from his usual jocular one -- frosty, demanding, and no nonsense. Until finally, overcome with emotion, he breaks down in an understated scene. Dana Wynter, his assistant, spots him and discreetly leaves him alone. She's too beautiful to criticize as an actress. She radiates purity and anima and gently draws More out of his shell. Naismith is a familiar face, as are many of the others. And there is a running gag in this underground bunker where More is plotting the Bismarck's demise. Nobody knows what time it is or, if they know it's 9 o'clock, they don't know if its morning or evening. Even the Germans aboard the Bismarck are lent some humanity by the script writers. The cadets look like earnest fresh-faced kids. The Captain is a practical man, worried about his ship and his crew. Only Karel Stepanek, as Lutjens, belongs in another, much earlier movie, say one made in 1943. He is well out of the frame established in the rest of the film. Stricken with awe when he gets a birthday greeting from You-Know-Who. Some of the dialogue is made up, out of necessity. Who knows what went on on the Bismarck's bridge, especially during that last catastrophic shelling? Back in the bunker, Dana Wynter looks down at the wooden models on her chart where a dozen British warships surround the single Bismarck and pound her to pieces. "I don't feel like cheering," she says. Well, "War is all hell." Maybe that's why human beings seem to need another one every twenty years or so, to remind ourselves.

What a waste of great ships, and of good men, on both sides. And an argument could even be made that Bismarck's sister ship, the Tirpitz, played an even more important part in the war simply by staying put and tying down so many British ships that were needed elsewhere. Our side "wins," of course. Our side almost always wins when we're the side that's funding the movie. A lot of viewers will expectably feel relief when the threat represented by Bismarck is over, but they probably won't feel much like cheering.