Phonearl Good start, but then it gets ruined

Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

ChicDragon It's a mild crowd pleaser for people who are exhausted by blockbusters.

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Marlburian I'm writing this (my first contribution to IMDb) after as long weekend in the locale where the film was shot. Can't say that I recognised Plymouth in the film, nor Brixham (as one or two others claim to have done)but several other settings were familiar, not least the little tower (now sadly dilapidated) where the commander embarks in the boat. The modern telephone directory lists two "Tradesmen's Arms" pubs locally (an inn of than name featured as a backdrop) but I didn't have a chance to check these out.I thought the plot creaked terribly and some of the acting was poor. It wasn't too clear whether the film was set in the war or in peacetime, but I've found out that production was announced in July 1939, with the premiere held the following March, so I guess that the plot was tweaked a bit as production continued, with the patriotic closing shots contributing to some flag-waving. When the enemy spy is finally unveiled he seemed very cheerful considering he would be facing the death penalty

ubercommando An early British colour movie from the 1930's (the only others that spring to mind are The Divorce of Lady X and The Four Feathers) but sadly not as enjoyable as the other two. As has been mentioned, this showcases the Dufaycolour film process and it does good give results; making the 1930's colourful without overpowering the viewer with garish colours (compare with other early Technicolour movies). The shots of lovely Devon countryside are a bonus as well: As a recent visitor to Devon, I was amazed to recognise Dartmouth, Slapton and Brixham in this movie, all of which seems little changed to this day.The plot is plodding and so so. The direction stilted and stiff and the acting is, at times, woeful but this is all balanced by a intriguing look, in colour, of an era long gone.

ekgee I first saw "Sons Of The Sea" during the war (circa "40/41) in Victoria and was struck by the vibrant color of the film. The story line was not memorable and I completely forgot what the story was about. The only actor who's name I remember was Leslie Banks. (That may have been partly because I associated him with the FIRST color film made in the UK, "Wings Of The Morning". (I was about 15 at the time.) In later years, as I became more involved in film (working in television and later in the National Film Board of Canada, in distribution), I kept looking for some mention of this title, but to no avail. I happened to mention to my son, just the other day, about this title, since we had been discussing "Wings..", its' color and its' female lead, Annabella. Today, he called me in to my computer, where he had located IMDb on the Internet, and there was my long lost film! I'm so happy to have found it again and learn more about ITS' history, from then to now. Has a DVD been released of this film? ..or a VHS tape (NTSC!) I'll be back to check soon. Thanks again for finding me!

andy-223 The real star of this film (as it was in 1939), isn't an actor, but the then new Dufaycolor - full colour process. It is also possibly the first feature film to be shot using a single color negative (in contrast to the three b/w negatives needed for the three-strip Technicolor camera). In the case of Dufaycolor, the negative film was ruled with a mosaic of very fine red/green/blue lines. This is important to know when this film is viewed today as the colour is completely different from Technicolor. Because the film was shot with a conventional b/w camera, the restrictions of the bulky three-strip camera freed. This makes for some smooth, nimble camerawork. As a bonus, there are a good deal of clear, bright outdoor shots, the result of much filming around the cool blue seas and hamlets that stretch and cover the South coast of England. A landscape about to be changed by the approaching War. Even this film is intended to be a 'flagwaver' and a nod to Admiral Nelson is given in the final sequence. This is because, in this case, the Navy is honoured, including the Naval training college. The storyline is sadly, a conventional spy story. This is given depth by the always excellent Leslie Banks and the welcome appearance of Cecil Parker. The colour consultant on the film was the British colour film expert Adrian Clyne. He had good concepts for the way progressive colour films should look (which sharply differed with that of Technicolor's Natalie Kalmus). Even after 60 years, Clyne's composition is modern and vibrant. If Kalmus wanted pastels in 30s Technicolor, Clyne wanted effective colour compositions and wasn't afraid to use colour dramatically, but without the need to detract from the drama. In all, the film is an interesting experiment. No other Dufaycolor films were made. War shortages sealed the fate of this process. Viewed today, the drama is only average and anyone expecting a good spy story may be disappointed, however if looked at from the point of view as one of the few 1930s British films in colour (which has survived well) it is stunning.