The last of the post 1945 cycle of black and white British World War II films which established the popular image of a generation of male stars. In this case Kenneth More as the super-brain behind naval intelligence, fighting the German navy in the Atlantic, and of course, plotting the demise of their famously unsinkable battleship.
The bulk of the film takes place in the underground nerve centre in London. Most of the scenes away from HQ are with the German officers on the bridge of the Bismarck. This saves money, but the action scenes, when they come, are extremely well realised. At times the realistic, procedural style of the film is a bit dry. And means a lot of talk.
This is principally a flagwaver that celebrates one of the crucial achievements of the war, and recognises the contributions of those involved. More's (fictitious) character is officious, but working for the right side. His adversary on the Bismarck (Karel Stepanek) is a sentimental Nazi who undermines his cause with his stubborn, irrational hubris.
Neither is likeable. They are promoted because in war, the outcome is everything. Scrape off enough superficial patriotism, and this begins to feel like an antiwar scenario; the skirmish seriously damages both sides. The real hero is Dana Wynter as a key backroom facilitator. Other than the spies, she is one of the few female role models in this era of WWII films.