| Photos (see all 3 | slideshow) |
| Tina Engel | ... | Judith Krueger | |
| Hans Diehl | ... | Hannes Krueger | |
| Martin Walz | ... | Olaf Landau | |
| Curt Bois | ... | Lazar Ostrowskij | |
| Ilse Bahrs | ... | Frau Ostrowskij | |
| Gerd David | ... | Karl Schneider | |
| Simone | ... | Gitty | |
| Laurent | ... | Maurice | |
| Renate Steiger | ... | Anna Flueckiger | |
| Mathias Gnädinger | ... | Franz Flueckiger | |
| Michael Gempart | ... | Landjäger Bigler | |
| Klaus Steiger | ... | Reverend Hochdorfer | |
| Alice Bruengger | ... | Frau Hochdorfer | |
| Otto Dornbierer | ... | Otti | |
| Monika Koch | ... | Rosemarie | |
| Ernst Stiefel | ... | Dr, Baertschi | |
| Johannes Peyer | ... | Truck Driver | |
| Gertrud Demenga | ... | Peasant Woman | |
| rest of cast listed alphabetically: | |||
| André Frei | |||
| Hans-Joachim Frick | |||
| Wolfgang Grabow | |||
| Walter Hess | |||
| Thomas Hostettler | |||
| Paul Lohr | |||
| Otto Mächtlinger | |||
| Rodi Nater | |||
| Daniel Plancherel | |||
| Jochen Porger | |||
| Walter Ruch | |||
| Axel Schlossler | |||
| Guido von Salis | |||
| Walter Wefel | |||
| Stefan Witschi | |||
Directed by | |||
| Markus Imhoof | |||
Writing credits(in alphabetical order) | ||
| Alfred A. Haesler | book | |
| Markus Imhoof | writer | |
Produced by | |||
| George Reinhart | .... | producer | |
Cinematography by | |||
| Hans Liechti | |||
Film Editing by | |||
| Helena Gerber | |||
| Fee Liechti | |||
Makeup Department | |||
| Giacomo Peier | .... | makeup artist | |
| Anne-Rose Schwab | .... | makeup artist | |
Production Management | |||
| Arlette Brunner | .... | assistant production manager | |
| Peter Spoerri | .... | production manager | |
| Regula Trauffer | .... | assistant production manager | |
Second Unit Director or Assistant Director | |||
| Ursala Bischoff | .... | assistant director | |
| Lukas Strebel | .... | assistant director | |
Art Department | |||
| Kathrin Brunner | .... | props | |
| Ursula Isler | .... | props | |
Sound Department | |||
| Oliver Schuhmann | .... | assistant sound | |
| Vladimir Vizner | .... | sound | |
| Luc Yersin | .... | sound post-production | |
Camera and Electrical Department | |||
| Peter Indergand | .... | camera operator | |
| Rainer Klausmann | .... | camera operator | |
| George Reinhart | .... | still photographer | |
| Olmar Schmid | .... | assistant camera | |
Costume and Wardrobe Department | |||
| Sylvia De Stoutz | .... | costumes (as Sylvia de Stautz) | |
Editorial Department | |||
| Raffaella Delucca | .... | assistant editor | |
| Anina Mutz | .... | assistant editor | |
Other crew | |||
| Franziska Frischkna | .... | script supervisor | |
| Marcel Just | .... | location manager | |
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| The Search | Europa Europa | The Big Red One | All Quiet on the Western Front | The White Countess |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Switzerland section | Add this title to MyMovies |
When the von Trapp family make it over the border to Switzerland, their ordeal is over and all is well (or so "Sound of Music" implies). Not so with the six forlorn refugees of "The Boat is Full." Having reached Switzerland after a perilous escape from Nazi Germany, their ordeal has just begun. They end up in a small village where an innkeeper couple take them in and try their best to provide food, clothing, shelter, and protection from the authorities.
The movie examines the attitudes of the Swiss towards refugees who were escaping Germany and seeking safety in their country. It provides a good insight not only into the official policies regarding which refugees were allowed to stay and which were forced to be repatriated, but also the attitudes of the common people. Some were openly hateful, most were indifferent and callous, many genuinely compassionate and kind.
The overall arc of the story is less important with this movie than the individual scenes and episodes that take place. Each conveys a particular pathos and engraves itself in one's memory with indelible force. The acting is almost totally transparent: you feel these are real people going through real events. The refugees' blank, despondent expressions, the gradual transformation of the innkeeper husband from suspicion to tolerance to outright kindness, the harsh authoritarian attitudes of the policeman, these all contribute to the film's effect.
It's a stark film to watch: there is no score, the colors are heavily muted and drab, and there are few points of comfort or cheer. One is left with a profoundly ambivalent view of the Swiss and Switzerland, which apparently was known as the "lifeboat" of central Europe (hence the irony in the title). The film is basically examining where the line could/should have been drawn between compassion and the need to maintain Swiss neutrality and protect its own borders and feed its people.