Stilgoe discusses the reaction the public had to Lifeboat, and their perception of what the experience might be like.  Many critics were hung up on the political implications or the technical achievements or follies of the film.  When they did comment on the experience, they complained of the unrealistic portrayal of some of the lifeboat hardships.  Life magazine specifically complained of things like the lack of “swollen lips” and questioned how clean they were able to stay after all the days at sea.  No one falls ill with the exception of Gus, the amputee, whose injury comes during the attack and death ultimately comes from treachery.  The public, however, believed the film’s version as being true to life, which shows cinema’s role in the “skew[ing] of twentieth-century understanding.”

 

One thing Lifeboat got factually correct was the lifeboat’s size.  It could easily hold the survivors, supplies, and Connie’s luggage with plenty of spare space.  With this in mind, following the war, many decided to buy cheap lifeboats from shipyards and converted them into yachts.  They saw in the film a boat that was bigger, stronger, cheaper, and in greater supply than a traditional lot that could be easily obtained.

 

Another thing Lifeboat accurately portrays is many of the mental challenges that one faces at seas, the most common theme being rule of law.  In dealing with the German, the survivors struggle with the question of how to deal with him.  With no governing body or procedure, they often quarrel about the legality of throwing him overboard.  Faith and the rule of God is the only constant seen in the film, with the steward Joe being the only character to not get sucked into the mob at the end.  Lifeboat also successfully deals with issues arising from mental strain at seas.  Gus dying of thirst succumbs to the temptation of drinking the sea water, something that debilitates his already dire situation.  Two passengers attempt suicide, Gus out of physical pain and the mother out of survivor’s guilt.  Lifeboat is a strong example of a film’s role in shaping its audiences perception of realistic events.