Hidalgos de los mares

In Which We Serve (1942)

A curiously different and really moving film about World War II, directed by two top British talents, Noel Coward and David Lean. It's filmed in the thick of the actual naval war and so might be unofficially called a propaganda film. (Though not made by the government, there was a lot of influence and assistance.). It clearly has a sense of presenting the British war effort at its best. But it's also complicated, filled with sadness alongside heroism and, perhaps most of all, selflessness. Both by soldiers and by their women left behind. The war in 1942 was not looking great for the Brits.

Coward co-directs but also is the leading man, and he's an established actor from both film and stage at this point. Lean, whose huge career as a director is all ahead of him, is in charge of the action sequences and this is his first attempt at directing--for which he won awards. If there is a sentimental side to some of the Coward directed scenes it's partly because of when it was shot. Try to imagine the audience suffering from bombings and having their loved ones in battle. We see it now with very different eyes.

In fact, it is hard to imagine how a wife or mother could watch this at all. The basic structure is that the ship goes out to sea with a bunch of men and then disaster strikes, and the rest of the movie is a series of flashbacks to the home lives of the men, and to the women who are dreading seeing their men go off to sea. It's actually about the very sadness of the people sitting in the audience.

The filming is rather different between the two directors. Coward understands a traditional kind of culture well, with conversation and interpersonal nuance. Lean captures a more direct emotional energy, and lots of vivid action. Normally two directors means problems, but here it's divided naturally.

Eventually the movie wears its formula, back and forth with flashbacks, pretty hard. But it's so well done you don't much mind. An emotional, finely seen movie, and surprisingly valid even now.

The British destroyer HMS Torrin serves as the meeting place where men from all walks of life come together as they are called to do their duty for their country. The lives of the different men interconnect in amazing ways, in good times and during tragedy at sea.

David Lean and Noel Coward shared the directorial duty in a film that is one of the best ones of the genre. It would appear impossible by today's egotistical standards that two men, like Mr. Coward and Mr. Lean, would even consent to work in a film project. The unity shown in the making of the film must have come from those trying days during the war days in England.

The large ensemble cast put together for the film showcases some of the best talent of the British screen like no other of its kind. Noel Coward, who was a colossal figure in the East End stage, is seen as Capt. Kinross, the man at the helm of the Torrin. His wife is played by Celia Johnson, one of the best actresses of her generation, and who later would go to collaborate with Mr. Coward in what must be, perhaps, one of the best achievements in the English cinema, "Brief Encounter".

In supporting roles we see a young John Mills playing Shorty Blake. Bernard Miles is seen as the kind Walter Hardy. His wife Katherine is portrayed by Joyce Carey, another excellent character actress who was always a welcome presence in any film in which she appeared. Kay Walsh, Michael Wilding, Daniel Massey seen as a young boy, and the baby Juliet Mills also appear in the film.

"In Which We Serve" is still a pleasure to watch because it shows the valor of the men called to defend their country.

In Which We Serve, is a blistering film, that never fails to hit the mark. The story revolves around the Life and Sinking of a Royal Naval Destroyer HMS Torin, and the gallant men that served on her.

Loosly based on the story of HMS Kelly a real Royal Navy Destroyer commanded by Lord Louis Mountbatten, it takes us back to the days when Britannia really did rule the waves.

The ship is sunk during the battle of Crete, and the main characters of the movie are then clinging to the life raft awaiting rescue. The film is a combination of flashbacks showing the effect that War has on the sailors and their families back home.

Sir Noel Coward is brilliant as the upper class Captain that commands the ship and the respect of his crew. Sir Bernard Miles is equally as pleasing as the middle class Petty Officer, and Sir John Mills gives a movie-making performance representing the majority of the Royal Navy, as the ordinary every day working class able seaman.

I've noticed that a lot of reviews of this movie talk of the class divide between the three characters, but I disagree entirely. First of all it is a true depiction of what the class structure was like in those days coupled with the fact that it was a message to say that in War time EVERYBODY is in the same stink, regardless of Class. A prime example of this is when the ship sinks. At home these men may lead different lifestyles. but after having a ship blown from beneath them. they are all the same.

Cowards film is a masterpiece, and his score is haunting and beautiful. Sir David Lean's directorial debut, (under the watchful eye of Coward), is something to be proud of, and it's no surprise they were to team again.

One the best moments of this movie is when the crew of the Torin rescue Coldstream Guardsmen from the bloody beaches of Dunkirk. On the dockside back in Blighty the Guardsmen disembark. Tired, wounded, and emotional. One word from an officer, and these broken men SNAP to attention regardless of how they feel, and in perfect unison are marched away. leaving John Mills to say "If I weren't so tired I'd give 'em a cheer......and that's no error" Incredible.

This is a triumph for War time movie making and remains a milestone in British Cinema which also includes Lord Attenborough's movie debut.

This Movie never fails to bring a lump to my throat. and the younger generation should be MADE to watch this movie. Who knows? it may help to restore this countries flagging patriotism.

A flag waver for the British navy (‘the story of a ship') in which we meet rough representatives of the three classes (upper, middle, working) brought together by circumstance and service.

The working classes are represented by John Mills and Kay Walsh, who marry quietly during a leave and go to their honeymoon on a train. Mills plays a good sort, reliable, the usual depiction of the honest working Joe. Slightly above them in class (with a garden and refined accents) are Bernard Miles and Joyce Carey, both very fine performances. The top of the scale is naturally Noel Coward (who wrote, co-directed, and produced this) and Celia Johnson, with their luncheon parties and their two affected children (one is the actor Daniel Massey, then a little child).

By weaving the stories of all three together we do go some way to understanding the (fictional) mind-set of the man at war, his worries, his triumphs and preoccupations. And as a morale-booster for our chaps at sea it must have done its job very well - it remains fairly touching all these years on.

"In Which We Serve" is not only a wonderful pastiche of British society during the second world war, but a complex, yet correct statement of a very simple theme -namely the duty of a country's citizens to defend the system it believes in. The simplicity of the story is one of the movie's key strengths, but the most appealing aspect of the film is, for me at least, the way in which each scene reflects the preceding and suggests the subsequent one. The motivation behind this may have been to demonstrate the unifying elements of the various different characters and their individual stories, but the skill with which this is done makes for a wonderfully satisfying experience. The film is excellently crafted, moving from a semi-documentary style that would have been instantly recognizable to cinema audiences of the forties, with the then common weekly news reviews; and then moving into everything from light-comedy to exciting action and pure drama. It is a film that for many will seem old-fashioned, but only in some of its sentiments, never its techniques or its wisdom. And the "old-fashionedness" of some of it -such as the love scene between John Mills and his girlfriend on the bench by the water- has a poignancy that is nevertheless almost painful in its innocence. Above all the film expresses one immensely important concern: dignity. It is reflected in the words and actions of all the characters, and shines through the film with the immense pride the film-makers (Noel Coward especially) put into making this film. It is an important film not least because it is not afraid of expressing loss -for many the thought of a film about a sinking British ship was a shocking risk to take in a time of war. And it is an entertaining film as well, in the best tradition of British cinema. Like the other main Coward/Lean masterpiece "Brief Encounter" this film can be enjoyed on so many levels that it demands multiple viewings. And like "Brief Encounter" you will discover new subtleties each time...