Lifeboat (1944)
Directed by Alfred Hitchcock
During World War II, a small group of survivors is stranded in a lifeboat together after the ship they were traveling on is destroyed by a German U-boat.
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What critics compared Lifeboat to
But as anyone who watched Hitchcock play with space and tension in Rope and Lifeboat will know, limited room invites a lot of cinematic invention, and newcomer Cortes has the skill to make his 90 minute experiment work brilliantly.
The film's hemmed-in parameters court comparisons with Hitchcock's "Lifeboat," which confined virtually all its activity to a World War II-era lifeboat bobbing on a rear-projection ocean.
From Lifeboat to Phone Booth, single setting films have used the limitations of their settings to facilitate incredible tension and drama, and Buried – one of the most extreme single setting films yet – does exactly this.
DP Nicolas Karakatsanis (who has lensed several Michael R. Roskam features) elevates the film beyond mere CGI-frenzy (computer generated canines, including roided out Dalmatians which have Pitbull bodies and would have been more enjoyable realized as Cerberus), for the most part, and Gillespie gives credit where credit is due (a snippet of the throaty Tallulah Bankhead in Hitchcock’s 1944 classic Lifeboat points to where Cruella’s inspiration came from).
Such dynamics were big in the golden age under the watchful eye of Alfred Hitchcock (whose own “ Lifeboat ” and “ Rope ” were founded on that principal), and eventually it produced two of the best films of the 60s: “12 Angry Men,” about a jury arguing over the fate of a young man accused of murder, and “Whose Afraid of Virginia Wolf?”, where Elizabeth Taylor and Richard Burton exchange painful but pointed witticisms in order to undermine already-unstable psyches.
With a plot like that, you might expect something slight and subtle, like "Bug" or a horror-tinged "12 Angry Men" or, maybe even more appropriately, Hitchcock's "Rope" or "Lifeboat."
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Without fresh water, some of the new Christians become even more crazed than the paranoid passengers in Alfred Hitchcock's Lifeboat, and quickly ditch their faith to superstitiously blame The Boy.
Master and Commander doesn't rank among the year's most profound and artistic endeavors, but Peter Weir crafts his film like Hitchcock's Lifeboat on steroids, proving that he can successfully handle an epic adventure without losing the small touches and human characters along the way.
After several days in a lifeboat — an enclosed vessel, not like the ones you’ve seen in “Life of Pi” or Hitchcock’s “Lifeboat” — Phillips was eventually rescued by the Navy.
~ ~ ~ murder victims … partially devoured ~ ~ ~ Like Hitchcock';s Lifeboat a collection of various humans are thrown together, and now they must survive.
Like Hitchcock';s Lifeboat a collection of various humans are thrown together, and now they must survive.
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We talked a lot about this as being kind of tradition of single location cinema from “12 Angry Men” through Hitchcock’s “Rope” and “Lifeboat.”
Alfred Hitchcock’s confined-space films (like Lifeboat) have influenced him.