In Which We Serve

1942

Drama / War

72
Rotten Tomatoes Critics - Certified Fresh 94%
Rotten Tomatoes Audience - Upright 76%
IMDb Rating 7.2 10 4,559

Synopsis


Downloaded 9,494 times
September 24, 2019

Director

Cast

John Mills as Mr. Parker
Juliet Mills as Jessica Barrett
Leslie Howard as Philip Armstrong Scott
Richard Attenborough as Frenchy Burgoyne
720p.BLU 1080p.BLU
973.1 MB
1280*720
English
NR
23.976 fps
115 min
P/S N/A / N/A
1.75 GB
1920×1080
English
NR
23.976 fps
115 min
P/S N/A / N/A

Movie Reviews

Reviewed by arbarnes 9 / 10 / 10

Possibly the best film yet about war's totality

"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...

Reviewed by KEVMC 9 / 10 / 10

A British wartime classic - and no mistake!

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.

Reviewed by rhinocerosfive-1 9 / 10 / 10

"Funny to think this is such a little island, isn't it?"

Opportunities to see Noel Coward recite Noel Coward were necessarily inhibited by his death, but he has left among his filmed artifacts this stunning little achievement, perhaps the quietest war film, probably the most British. To be sure, it veers maudlin once or twice, and the whole production is suffused with the blood of righteousness - but not self-righteousness. This is the kind of movie that makes me want to join the Navy, I who get seasick in the bath. How does a middle-aged homosexual song-and-dance man support the war effort? By producing a bang-up answer to Wyler and Ford, a vivid recruitment poster for the side of decency and respect. Brutal, tender, horrible, and full of hope, IN WHICH WE SERVE sings the victory song of both shellfire and home fire without mention of glory or distinction. Noel Coward's acting is a marvel of disinterested conviction. Nobody could speak faster, or with more precision, and that with the stiffest of upper lips. No one wrote dialog at once so arch and comfortable, either, except maybe Kipling. Coward celebrates the most sophisticated level of civilization, the blithe, eloquent man of society who has managed not to become jaded. He embraces his England with a respectfully familiar pinch on the cheek, and he kisses her with the most restrained of passions in front of the children. But he also loves with all his heart the simple proletarian bedrock, and he allows the working classes to display as much humanity and emotion as he denies his own character. There is much stage-like, not to say stagey, in the production, which shouldn't be very surprising given its principal antecedents. The film is sometimes expressionistic in design, the angles and sets a terrifying collage of unsettling, theatrical images in contrast to the reassuring tea cozy and the ramrod-straight captain on the quarterdeck. The symbols are profoundly simple and the effect is disarmingly true. As Coward says over a drink, "Perfect; it's not a bit too sweet." Well, it is rather, but mix another pitcher of Bovril and sherry and don't complain, there's a good chap.

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