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In order to paralyse the German industrial potential in the Ruhr, it is decided that the Ruhr dams must be destroyed by some fool-proof method. Dr. Barnes Wallis, a scientist engaged on "back-room" research, is working to perfect a special bomb powerful enough to breach the dams. Despite official scepticism and several technical setbacks, the explosive (designed to ricochet across the water towards its target) is finally tested and proves to be effective. The preparatory work completed, the responsibility for organizing the raid is given to Wing-Commander Guy Giibson, who proceeds to form and train a hand-picked squadron of experienced flyers. After several weeks of secret training and technical revision, the operation is set in motion. Flying at tree-top level, the three waves of aircraft concentrate their attack despite heavy opposition, and the pilots are rewarded by the sight of their bombs exploding on the Moehne and Eder dams. Widespread flooding follows, causing great damage to the industrial areas in the vicinity. The depleted squadron returns to base and Gibson is met by Wallis, who has been following the raid from the Ops Room. Although cheered by the success of the mission, the scientist's first thoughts are for the fifty-six men who have not come back.

Although the story development and general background of this ambitious production are based firmly on the conventions built up over the years by the British war film, there are, in The Dam Busters, indications of an added recognition of some of the realities of war, and an attempt (albeit rather tentative, at times) to express a more deeply felt emotion than one has come to expect in recent times. R. C. Sherriff's script and Michael Anderson's direction work up a mood of cumulative tension which successfully suggests something of the nervous strain and the personal comradeship of those involved in this dangerous operation, and in the scenes immediately before and after the raid itself, communicates an awareness of what "pressing home the attack” meant in terms of human lives. The closely documented scenes of preparation (Wallis's experiments and his conflict with officialdom and the training of Gibson's aircrew in low-level flying) are convincingly presented, and the brilliantly photographed aerial sequences include an extensive (and for the most part, realistic) use of models and special effects. Apart from the central figures of Wallis and Gibson, there is little attempt at individual characterisation The bomber crews are viewed objectively as a group of eager, earnest young men, and there is a welcome absence of the more irksome type of Service humour. Michael Redgrave as Wallis does his utmost to turn the conventional "boffin" into a warm and recognisably human figure, and, apart from a few early scenes, his playing is quietly persuasive. On the other hand Richard Todd's impersonation of Guy Gibson is rather mannered and lacking in authority; there is little variety of mood in the performance, and his final scene with Redgrave (in itself quite pointed) is made to sound trite and false.

The film is over-long (the flying sequences include some repetition) and the music score is, regrettably very blatant; but despite these drawbacks a mood of sober respect is maintained.

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