The Silver Fleet (1943) User Reviews

" ....Piet Hein, Piet Hein, your name will always shine...."

[Brucey_D · 8/10 · 16 January 2019]

Dutchman Van Leyden (Richardson) knows his shipyard will be used by the Germans whether he like it or not, so chooses to play a dangerous double game, ostensibly playing along with the Germans -earning the ire of his countrymen who think he is a Quisling- whilst anonymously organising acts of sabotage under the name 'Piet Hein' -a historic Dutch naval hero.

Powell and Pressburger's film was made as war propaganda and it shows; however it is both a good film in its own right and it portrays the Germans in a less bad light than was originally intended.

The script is credited to Sewell and Wellesley, but the first draft was written by Emeric Pressburger, who had been forced out of Germany by the Nazis and had first hand experience of what they were like. He originally wrote it not only with threats of Nazi reprisals, but reprisals on civilians made real. He refused to have his name put to the script once these had been edited out by Sewell.

The story is inspired by real events; Dutch dockyard workers did hijack a Nazi submarine during WWII. Much of the film was shot at Denham studios, with dockyard scenes in Dundee and some street scenes in King's Lynn. Oddly enough parts of King's Lynn were built with Dutch-made bricks and tiles (they were brought back as ballast by ships exporting wool from East Anglia) so the resemblance to Dutch streets is more than coincidental.

It would have been easy to make every part in this film a mere caricature (as many are) but Richardson's role is much more nuanced than that. Nothing of course could do justice to the many selfless acts carried out by partisans during WWII but this does more than make a token gesture in that direction.

Overall this probably isn't one of P&P's best films but that certainly doesn't make it a bad film in absolute terms; it is a lofty canon. For what it was and when it was made it gets eight out of ten from me.

Surprisingly very good

[calvertfan · 8/10 · 15 September 2002]

I missed the first few minutes of this (and somehow entirely missed the entire of Kathleen Byron's part unfortunately!) but was able to pick up the main plot line - Ralph Richardson is a Dutchman in charge of a shipyard who plays up to the Nazis to win their trust, but garners himself a bad reputation in the anti-Nazi community, which bodes poorly for his small son who gets beat up at school, and his wife, Googie Withers (the only reason I recorded this film!) who can't buy groceries anymore because no one will serve her. It's ultimately a very sad story but equally engrossing and you'll never guess who Piet Helm is!

Aside from a slightly overlong ending and preachy ending, a very good wartime propaganda film

[planktonrules · 8/10 · 2 April 2014]

"The Silver Fleet" is a reference to a fleet of Dutch ships that managed to score a huge victory over the Spanish back in 1628. Not only was this title used because the film was about the Dutch resistance to the Nazis, but because the anonymous leader of the resistance at the shipyards called himself Pieter Heyn--the man who commanded this Dutch fleet in the 17th century.

The film begins with the capitulation of the Dutch when they were invaded by the Germans in 1940. At that time, the head of a local Dutch shipyard, Jaap van Leyden (Ralph Richardson), was asked by the Nazis to re-open the yard and begin building ships for the Axis. Van Leyden realizes he really has no choice--the Nazis WILL begin building ships there. So, he agrees to run the shipyard for the Nazis and is outwardly a real Hitler-lover. However, his real plan is to use his position to vandalize the ships. But, because EVERYONE (including his own family) believes he's a collaborator, his life is very difficult. What acts of sabotage will this 'Pieter Heyn' perpetrate? See the film.

I like the quiet nature of this movie. It is very patriotic but only at the end did it go overboard to sentimentality and ultra-patriotism. Up until then, it was a solid thriller and seemed very realistic. The end was good but his letter and the things leading up to it went on a bit too long--though this was the style during WWII--to make everything obvious and rousing. Had the ending been a bit more subdued, I think it would have aged a bit better. Still, Richardson and the rest were wonderful and the film kept my interest from start to finish.

Obvious but rousing little drama

[bob the moo · 3 February 2004]

During World War II, Holland is occupied by the Nazi's and the populace splits between those who accept, those who actively resist and those who actively assist - called `quizlings'. One such quizling is naval engineer Jaap van Leyden, who the Nazis use to help build U-Boats. However the efforts of the Germany navy are hampered by the underground resistance, led by the mysterious and unseen Piet Hein.

This film suggests a mystery but, if you haven't guessed the identity of the mysterious Piet Hein within 2 minutes of the film starting then you sir, are a monkey undeserving of a banana! However, given that the film then reveals the identity past the very obvious clues, then this isn't too much of a problem. What the film then becomes is quite a good tale of heroism in the face of the Germans, and of sacrifice and personal strength.

While it is a difficult film with no very easy heroism to get behind - van Leyden is a different character for a piece of propaganda, taking the difficult line of being a double. While the film is a slow starter it does get to quite a heroic level towards the end and makes it's point without fireworks or excessive drum beating. In fact the climax is one of quiet strength rather than action - it suits the film and is quite served considering the films of the time.

Richardson does very well with his role. He is a little dry at the start but once his character becomes clearer then he gets better. I had just watched Shine when I watched this film and it was a surprise to find myself watching a Googie Withers double bill! She is good too, although I would have liked to see her struggle more obviously when doors were closed. The support cast of Germans are good - not too nasty to be caricatures but not likeable enough for us to feel pity for what had to be done. The cast of Dutch (or English rather!) are all OK but none really stand out.

Overall this is quite a low key and obvious film but it no less enjoyable for it. For a propaganda movie made in wartime it is surprisingly restrained and measured and has a quite touching climax of stiff upper lip-ness! Not quite as rousing as many of it's genre but different enough to be worth seeing.

More than just a propaganda movie

[Leofwine_draca · 7/10 · 12 April 2017]

THE SILVER FLEET is a very interesting and engaging slice of WW2 propaganda about saboteurs working to disable Nazi shipping in a Dutch dockyard in the Second World War. The film boasts a fine central performance from a youthful Ralph Richardson as the Dutch dockyard owner, a man despised by his own side - wife Googie Withers included - for being a Quisling.

This is a slow-paced and rather mannered production that nonetheless rises above the trappings of the WW2 propaganda genre to become something quite moving and profound. Richardson is excellent as the lead, but the supporting cast are no less impressive, and Esmond Knight particularly shines as the friendly Nazi; his performance is even more impressive when one realises he was blind at the time, but playing a sighted man. The ending of THE SILVER FLEET is simply fantastic.

Submarine sabotage

[AAdaSC · 6/10 · 28 May 2016]

Dutch shipyard owner Ralph Richardson (van Leyden) works with the Nazis to allow his yard to manufacture submarines. Only does he? He certainly is at the helm in his organization to the extent that the townspeople don't trust him or his family that includes wife Googie Withers (Helene) and son Willem Akkerman (Willem). At the same time, the mysterious Piet Hein is masterminding some anti-Nazi underground sabotage. Can the 2 planned submarines be completed for Nazi use or can Piet Hein and his colleagues win the day?

First of all, the identity of Piet Hein is obvious from the very beginning but this is not to the detriment of the film. Just the opposite. It is necessary for the audience to know who he is in order for the film to work. The main cast – Richardson and Withers - are good and that includes young Willem Ackerman. I don't normally like kids in films but he plays his part well. However, at the opposite end of the spectrum, Bobby Davro turns up to play a comedy Gestapo officer with scrunched up face, woeful accent and typical comedy shouty Nazi attitude, He is dreadful! The film loses a mark for his performance given that he has so much screen time. Davro should just stick to performing bellyflops as he is most recently famous for.

The story doesn't rush things but this adds to the sentimentality of the proceedings at the film's end when the idea of human sacrifice comes into play. It's a sad end that is aimed to rally the audience to support the war effort and be brave. The film is told in flashback by Withers as she reads a diary and it is a good mechanism to unravel the story.

Unusual Sabotage Movie.

[rmax304823 · 6/10 · 26 March 2014]

It's 1943 and the Nazis have occupied the Netherlands. Ralph Richardson runs a shipyard that is building U-boats for them. He and his wife, Googie Withers, disapprove of the occupation. But what can Richardson do -- join the band of resistance fighters that are sabotaging his operations?

His family acquire a reputation as collaborators and it isn't until Richardson runs across a school room story of Piet Hine, a legendary figure of Dutch national pride that he rethinks his position. He secretly begins aiding the resistance, keeping his activities from everyone else, including his wife. But he does so in a way that convinces the Germans that he is on their side. The ending is both tragic and triumphant and isn't depicted.

It's unusual in that there is so little action, considering the place this film occupies in British history. One might expect more dashing around, more shooting, more romance, more all-encompassing thrills, as in "The Adventures of Tartu," in which Robert Donat sneaks around in an enemy uniform while destroying the plant.

Not here. Richardson speaks softly and smoothly. And he's not nearly as expressive as Googie Withers in the wife's role. But it's not all underplayed. The Nazis are so stereotyped that they're amusing. You have to see and hear Esmond Knight as the local Nazi boss, von Schiffer, to believe it. His ugly features are wreathed in a constant scowl, even when he's being friendly. He scowls in his sleep. His voice is a Teutonic sneer. He wears a monocle. And he's stupid.

It's not much of a thriller but the scenes of Richardson at home with his family are formal and warm at the same time. His last letter to his wife will be familiar to anyone who has heard Tom Joad's last speech to Ma Joad, or read Emerson's concept of the oversoul.

Terrific little known WWII film

[intelearts · 9/10 · 5 February 2009]

Silver Fleet made in 1943 is a great view.

Set in Holland in a small shipbuilding town now controlled by the Nazis it is a tale of double intrigue and heroism that is surprisingly watchable. The tale of the shipyard owner (Ralph Richardson) who is friendly to the Nazis by day and a hero of another mettle by night is nicely done. What makes this work is the human aspects are not swept to one side but are tackled too.

Ralph Richardson may never had the matinée idol looks of an Oliver but he makes a very good and quite unassuming impact here, there is both suspense, adventure, and wry humour - this film is memorable and the courage is more than propaganda. Richardson always did sneak up on you and here he does so well.

All in heartily recommended.

Hammy

[lanceblades · 6/10 · 5 May 2022]

Fairly typical early forties wartime movie. The Nazi's are portrayed as vain and stupid but you have to remember that victory was by no means certain in 1943, and a lot of movies from this era are little more than moral boosters. The weak ending leaves you disappointed too.

Double cross Dutch style in the second world war with tragic success

[clanciai · 10/10 · 3 December 2015]

This is a wonder of a film, completely unknown and gradually being discovered as an exceptional gem of priceless interest in the flood of war propaganda films of the second world war. Emeric Pressburger wrote the original story, and you can trace his hand everywhere, so that it actually could be suspected on reasonable grounds that this was an ordinary Powell- Pressburger film all through, but Vernon Sewell, who lived to be almost 98 and made many praiseworthy films, together with Gordon Wellesley softened the script somewhat and made it more stringent with marvellous results for the action, the developing plot of constant surprises, the very sensitive nuances of the characters and all supported by the perfectly adapted dramatic music by Allan Gray. Although Ralph Richardson makes as eloquent and clearcut a character as ever, always reliable for interesting and straight-backed integrity, the most interesting performance is by Esmond Knight as the leading nazi, making quite a nazi character out of the ordinary in hilarious serious caricature. Pressburger disagreed with turning the character thus, but it's a great success - you'll never forget his plater of spaghetti, perhaps the best scene in the film. In brief, this is a surprisingly sparkling film of suspense and intelligence to discover and enjoy and with great delight never to part with.

"All Doctors Are Communists!"

[richardchatten · 8/10 · 14 November 2022]

The first film of Powell & Pressburger's newly-formed company The Archers to see the light of day (shot on a soundstage adjacent to the production of 'The Life and Death of Colonel Blimp') probably represented the final bow of Ralph Richardson (also billed as 'Associate Producer') as an action hero having previously played Bulldog Drummond and a gentleman spy in a bowler hat in 'Q Planes'.

It bears a striking resemblance to Fritz Lang's 'Hangmen Also Die, currently being shot in Hollywood and also set in a fanciful version of Europe under the heel of a wonderful collection of caricature Nazis. Powell was a huge admirer of Lang so the resemblance of the scene were Richardson marks a Quisling with a big letter 'Q' to one in a certain film by Lang is almost certainly not just fortuitous.

Cartoonish characters get in the way of a profound story of the fight for freedom.

[mark.waltz · 5/10 · 5 June 2014]

You could call the Nazi's in this propaganda filled war drama "The Peter Lorre Choir" with their stereotypical harsh tones making them even more one dimensional than ever. It also appears that a few of the actors playing these characters have had their voices altered because they sound like Conrad Veidt on helium. Considering that they are on-screen for about 75 percent of the movie makes it a major distraction and a little tough to take serious at times even though the message of the movie is truly touching.

The story surrounds the occupation of Holland and the Nazi's infiltration into Ralph Richardson's submarine factory, as well as the locales' attempts to sabotage them. They have come to believe that Richardson is a "Quisling" (traitor), unaware that he's put together his own plan of action, even keeping his wife (Googie Withers) out of the loop, thus putting his own marriage in jeopardy. Withers isn't any shrinking violet of a wife, having her own plans in motion while defending her husband against the local talk until she begins to believe that he really has turned against his own people simply to save his own life.

While the performers of the Nazi characters may seem like something out of Mel Brooks, those playing the locales are more grounded in reality which only accentuates the one dimensionalism of the "Why We Fight" story. Yes, the message is loud and clear, and at times, the battle does seem worth dying for, but the lack of subtlety ultimately defeats the well-meaning structure into becoming a band of self-serving faciciousness.

"Gripping flagwaver - suspenseful and moving in equal measure."

[jamesraeburn2003 · 5 August 2008]

*Warning - This review contains VERY big spoilers!*

German occupied Holland: Shipyard owner and engineer Japp Van Leyden (Ralph Richardson) is asked by the German commander, Von Schiller (Esmond Knight) to construct U-boats. Leyden agrees but it makes him and his family unpopular with the locals who call him a Quisling. But they are forced to set aside their principals and apply for jobs at the shipyard because otherwise they would starve. However, unknown to them, Van Leyden has played along with the enemy in order to put him in a good position to sabotage operations. Calling himself Piet Heim after a hero in Dutch history, Van Leyden secretly gives instructions to the resistance to sabotage the trials of the sub U107, in which they successfully capture the German crew and divert the ship to London. This was actually inspired by a true story in which a Dutch crew did indeed capture a German U-boat and handed it over to the British navy. Here it is taken over by the British navy. Naturally, security has now been tightened up by the Germans at the shipyard and the trials for the next sub, the U108 are fast approaching. Fortunately, Van Leyden still has the trust of the German commander who puts him in charge of the sub's sea trials. He invites Von Schiller and the other top ranking officers to a dinner party at his house where he is successful in persuading them to accompany him on the trials the following day. Van Leyden has discovered a way of damaging their operations for a second time by setting off an explosion on the ship by remote control but he will have to risk his own life in order to protect his family and his country...

After an uncertain start, the identity of Piet Heim is obvious from one-third of the way into the first reel, but the picture soon gets into its stride and ultimately, the fact that we know Van Leyden to be Piet Heim does not matter at all. The Silver Fleet emerges as a gripping, occasionally light-hearted but indeed a tragic flagwaver. The screenplay co-credited to directors Vernon Sewell and Gordon Wellesley allows for some tense and moving situations. The plight of Ralph Richardson's Van Leyden who is forced to gain the unquestionable trust of the German officers in order to direct his plans of sabotage against their operations is both suspenseful and heart rendering in equal measure. He is always at risk of discovery by the enemy yet the local townsfolk see him as a Quisling yet they have no idea that he is actually out to save them. There is a scene in the film where one of Van Leyden's workman who was responsible for planting an explosive device in the shipyard breaks into his boss's house. He accosts Van Leyden in his room whilst the dinner party with the German officers is going on downstairs. He threatens to kill him for being a Quisling but Van Leyden manages to explain to him the real facts behind his collaboration with the enemy. But unfortunately, the man turns the gun on himself and Van Leyden is forced to make out that he shot the guy to maintain his trust of Von Schiller's men if his true plans are to come off. In a heartbreaking conclusion, Van Leyden's wife Helene (played by the excellent Googie Withers) disowns him and locks herself in her room refusing to let him in no matter how much he pleads with her. In addition, to the add to the story's potency, this is the last time that they ever see each other since the following day, Van Leyden boards the sub for the trials with Von Schiller's men and sets off the explosion killing both himself and the German officers since there was no other way to do it.

On watching the film one can clearly see its propaganda film origins but the fact that it stirs the emotions and keeps the audience on the edge of their seats in equal measure with its tense plot makes this a picture of considerable note. Nowadays, the fact that the celebrated names of Michael Powell and Emeric Pressburger are attached to the film (but only as producers here) are probably what attract most people to see it as well as the stellar cast in which Richardson as Van Leyden, Googie Withers as his wife and Esmond Knight as Von Schiller are of exceptional note. But one should not overlook the efforts of director Vernon Sewell whose tight direction here makes one regret that he never continued to get many "A" pictures and was consigned to making quota-quickies for most of his career.

In conclusion, although The Silver Fleet is probably less well known than the more distinguished works of Michael Powell and Emeric Pressburger, it is still an effective film in its own right thanks to strong acting by a top notch cast, tight direction and a script that neatly blends the mixture of nail biting tension and emotional drama. If you take the time to see this, I assure you, you could do a lot worse.

Engrossing entertainment!

[JohnHowardReid · 8/10 · 13 October 2017]

Produced by Michael Powell and Emeric Pressburger, with the co- operation of the Netherland Government Information Bureau and the Royal Netherlands Navy; an Archers Film Production. Presented by the Rank Organisation. U.K. release through General Film Distributors: 22 March 1943. New York opening at the World: 23 March 1945 (sic). U.S. release through PRC: 26 March 1945. Australian release through Gaumont-British-Dominions/20th Century-Fox: 13 January 1944. 8,194 feet. 91 minutes.

COMMENT: The plot by now is a rather familiar cliché of the espionage yarn, but nonetheless it is played out here with such style and panache, and heavily loaded with such compellingly realistic production values, that, despite its outdated and obvious anti-Nazi message, it still comes across as engrossing entertainment, full of thrills, hair's breadth escapes and other excitements.

Although hampered by the necessity to speak English, Ralph Richardson turns in a wonderfully charismatic performance in the lead role, ably assisted by Googie Withers and Esmond Knight.

Junge's superlative art direction is a major contributor to the film's success as a realistic document rather than as a fanciful, old-hat melodrama. Hillier's bold camera-work also scores strongly.

All credits, in fact, are absolutely first-rate. That's why it's so hard to believe that Vernon Sewell — Vernon Campbell Sewell, no less, as billed in the credits — had a great deal to do with the writing and direction. If this is actually so, then it is by far his best work in both categories.

Gordon Wellesley's career is not exactly filled with high points either, though he did pen the original story for "Night Train to Munich". Frankly, the script sounds to me like the superior collaboration of Powell and Pressburger. And my hunch is that the masterly direction is Mr. Powell's work too. But maybe I'm dead wrong on both counts?

A Film of its Time

[Picgoer · 9/10 · 3 May 2022]

As usual an understated British film made during the Second World War. At the time it was conceived and written it was still the height of the war, which unbeknownst to all, still had two more years to go.

It depicts the different ways people resisted the occupiers, often at great cost to themselves and others.

Ralph Richardson (in the RNVR at the time) gives a good performance as van Leyden a Dutch shipyard owner who others, including his wife, believe is a collaborator, all of which adds to the tension of the film.

The rest of the cast give good performances. Others have commentated on the one dimensional performances of the actors portraying Nazi's, either cold, calculating and remorseless or as evil buffoons.

Esmond Knight's portrayal of Nazi officer, van Schiffer has been signalled out for his somewhat comedic portrayal and by some for his facial features. Whilst the acting might be a little over the top, he would have taken direction as to how the character was portrayed. Also it must be appreciated that Esmond Knight (RN) had been gravely injured in 1941 whilst on active service on board HMS Prince of Wales, engaging with the Bismarck at the Battle of the Denmark Strait, (HMS Hood was lost with all but three hands) when he was blinded. He was totally blind at the time of filming and he bore the scars of his injuries. He would only gain some sight years later.

The denouement of the film is not particularly surprising but the build up is still tense.

We should remember not to see the film through the prism of the modern era. This was produced eighty years ago for an audience that had clear ideas about what Nazi's were like and how they expected them to be portrayed.

I have seen the film a couple of times and certainly recommend it others.

Must see golden oldie

[paulrsmale · 8/10 · 22 March 2018]

Good ww2 film, seeing it's an oldie, nice and gripping, could easily be a true yarn

The price of patriotism

[Charlot47 · 20 February 2013]

Set in Holland during the German occupation and produced by Michael Powell & Emeric Pressburger, who had already shown the bravery of the Dutch resistance, ably led by Googie Withers, in "One of Our Aircraft is Missing". This time Ralph Richardson is shipbuilder Jaap van Leyden, Googie Withers is his loyal wife and Esmond Knight is von Schiffer, the Gestapo officer in charge of security at the shipyard.

Two submarines under construction are to be finished for the Germans who first, by one means or another, need to obtain the co-operation of the workforce. Van Leyden agrees to stay at the helm, earning the hatred of the town as a Quisling, but with the aim of secretly organising resistance. The first submarine is hijacked by the Dutch workers, who sail it to England. With the second, the Germans will allow no Dutchman on its first sea trial except their trusted van Leyden, who has invited various German VIPs. With a hidden bomb, he sends the submarine, himself and all the Germans to the bottom. So secret was his plan that only after his death does his wife discover his heroic role.

Technically, the film is well shot, giving you the feel of a little town on the North Sea and of the shipyard which is its main business. Its message is very simple: that if you love your country, you must be ready to die for it. The telling of the story is more complex, as the many German characters are shown as humans, not caricatures, who bear no particular ill will to their Dutch neighbours but exhibit just enough insensitivity and arrogance to make you eventually loathe them.

Recommended for the atmosphere of the community under repressive occupation, for the deadly cat and mouse game played by van Leyden and for the huge dignity and courage imparted to the role by the masterful Ralph Richardson.

"I was one of the seeds from which freedom grew again."

[morrison-dylan-fan · 8/10 · 15 February 2022]

Taking a look at the latest films to appear on Talking Pictures free online catch-up service, I was intrigued to spot a title involving film maker Michael Powell, but one that he did not direct, which lead to me watching the silver fleet sail pass.

View on the film:

Requesting (and getting) his name removed from the writing credits due to being against the studio diminishing the brutality of the Nazis from his original original story, the screenplay by co-writers/co-directors Vernon Sewell & Gordon Wellesley retains the espionage knife-edge tension aspect prominent in Emeric Pressburger (who despite having his name taken off the script, produced the movie with regular collaborator Michael Powell) works with Powell on Film Noir titles such as Contraband (1940-also reviewed), with van Leyden having to walk a tightrope of carrying out his sly attacks against the Nazis under cover, while also having to shield himself from accusations of the Dutch Resistance that he is a traitor.

Fearing that the Nazis will uncover his plans any moment, Ralph Richardson gives an excellent performance as van Leyden, who Richardson gives a cool under pressure appearance when distracting the Nazi Generals with his under-handed charm, but in fleeting private moments, gives a glimpse to the bag of nerves van Leyden is keeping a tight grip on.

Crossing the lowlands with van Leyden, co-directors Vernon Sewell and Gordon Wellesley are joined by cinematographer Erwin Hillier in placing large obstacles across the lowlands,which come into light from being drenched in shadows with terrific dissolves and match-cuts unveiling the secret messages being spread around, which self-destruct to rapid panning shots round tight corners, as van Leyden prepares to welcome the silver fleet.