Nosso Barco, Nossa Alma

Superb and brooding movie , though stiff-upper-lipping at times ; dealing with the brave men on a British fighting ship told through flashback . This "story of a warship", the British destroyer H. M. S. Torrin that is sunk during the battle of Crete , being told in flashbacks by survivors as they cling to a life raft . The greatest picture you've ever seen ! . Noel Coward's Academy Award Winner! . The Greatest Motion Picture Of Our Time! It stands alone - The Greatest Of All Motion Pictures! You'll Never Forget...In Which We Serve . Chosen by the critics as the year's best film ! Dedicated to every woman with a man in service! The year's greatest picture is dedicated to love.. The throbbing emotion of a million wartime romances ! You'll add your name to this list of people who say ¨This is the finest human drama of our time¨.

Inspiring and expertly-scripted jingoist-war drama capturing faithfully the spirit of the British Navy during WWII . A splendid picture with an emphasis on realism that was unusual in other patriotic , flagwaver films . At the time considered to be the greatest human drama of war filmed in which Noel Coward directed and Lean watched and assisted the finished movie together . Unlike several WW2 this unforgettable picture doesn't date one bit , and remaining , nowadays , its deep sentiment and agreeable message . The first Brit movie to depict a naval war in all its grim reality , it proved the country's top moneymaker in the year its premiere . Noel Coward himself gives his best screen acting in the lead , likewise it revived the career of the young John Mills by casting him as a sympathetic and sensitive sailor . Adding other great English actors , such as : Michael Wilding , Kay Walsh , Bernard Miles, James Donald , Philip Friend, Walter Fitzgerald and as narrator : Leslie Howard . As well as film debuts of Richard Attenborough , Celia Johnson , Daniel Massey and John Mills' daughter : infant Juliet Mills .

This masterpiece motion picture was compellingly written , co-directed and scored by co-star Noel Coward who was given a special Academy Award for his outstanding production achievement and being Lean's first directing credit . Of course , In Which We Serve (1942) got a big hit in the year its release in England and all around the world . With the onset of World War II Noel Coward and David Lean redefined the spirit of the country in films such as "This Happy Breed" (1944), "In Which We Serve" (1942), Blithe Spirit (1945) and, perhaps most memorably, "Brief encounter" (1945). Rating : 7/10 . Well worth watching . Essential and indispensable seeing for British classic films enthusiasts.

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.

The story of British Navy Destroyer HMS Torrin, told in flashback by the surviving crew members as they await rescue in the Mediterranean, the ship having been sunk during a battle.

This film was something of a tour-de-force for Noel Coward, as he produced, wrote and co-directed it (with a young David Lean). Considering its age, the film stands up quite well today. It obviously seems dated in some respects - the dialogue is quite clipped and stilted at times - but is saved by professional work all round and a clutch of strong performances, namely by Noel Coward himself, John Mills and Bernard Miles. Its also notable for the screen debut of Richard Attenborough (it was screened over the holiday weekend as part of a celebration of his upcoming 80th Birthday).

While some may find it presenting an overly romanticised view of the Royal Navy at war, it should be remembered that at the time it was made, in 1942, victory over Germany was still far from certain. With that in mind, it surely must have achieved its aim of boosting the morale of those who saw it. Over 60 years on it remains good solid entertainment and an intriguing glimpse into the mindset of the day.

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.

"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...