Saturday, August 13, 2016

Yellow Canary

The-yellow-canary-movie-poster-1943.jpg
Theatrical poster
Directed byHerbert Wilcox
Produced byHerbert Wilcox
Written byP. M. Bower
Miles Malleson
DeWitt Bodeen
StarringAnna Neagle
Richard Greene
Albert Lieven
Distributed byRKO Radio Pictures
Release dates
  • 19 October 1943( Premiere-London)
  • 13 April 1944 (U.S.)[1]
Running time
95 minutes (UK) (also given as 98 minutes)[2]
84 minutes, edited (U.S.)[3]
CountryUnited Kingdom
LanguageEnglish



Yellow Canary
The-yellow-canary-movie-poster-1943.jpg
Theatrical poster
Directed byHerbert Wilcox
Produced byHerbert Wilcox
Written byP. M. Bower
Miles Malleson
DeWitt Bodeen
StarringAnna Neagle
Richard Greene
Albert Lieven
Distributed byRKO Radio Pictures
Release dates
  • 19 October 1943( Premiere-London)
  • 13 April 1944 (U.S.)[1]
Running time
95 minutes (UK) (also given as 98 minutes)[2]
84 minutes, edited (U.S.)[3]
CountryUnited Kingdom
LanguageEnglish
Yellow Canary is a 1943 British drama film, directed by Herbert Wilcox and starring Anna NeagleRichard Greene and Albert Lieven. Neagle plays a British Nazi sympathizer who travels to Halifax, Canada, trailed by spies from both sides during the Second World War. Neagle and director/producer Wilcox had collaborated on a number of previous film projects previously.[4]

Plot[edit]

In the Second World War, Sally Maitland (Anna Neagle) appears to signal Nazi planes to bomb England after murdering an innocent citizen in his home. The next morning, Sally boards a ship bound for Canada. Two of her fellow passengers, Jim Garrick (Richard Greene) and Polish officer Jan Orlock (Albert Lieven), seek her acquaintance, despite her long-time and well-known admiration for Nazi Germany. It soon becomes common knowledge that Jim is in British intelligence. Sally rebuffs his advances, but welcomes Jan's attention. Sally is, in fact, a deep cover British agent on a secret mission shadowing her quarry: Jan. Unbeknownst to Sally, Jim has been assigned to help and protect her.
The ship is stopped in mid-ocean by the German heavy cruiser Prinz Eugen, and a boarding party takes Jim prisoner. To the puzzlement of the ship's captain, the cruiser allows the ship to continue on its way. It turns out that the Germans have captured an impostor, when Jim emerges from hiding.
When they reach Halifax, Nova Scotia, Jan introduces Sally to his invalid mother, Madame Orlock (Lucie Mannheim). Jim uses his contacts to have Sally appear to be a true Nazi sympathizer by having Canadian government men expose her and warn the Orlocks to stay away from her due to her Nazi leanings. Sally pretends to try to break off their relationship to avoid trouble for them.
Jan reveals that he is working for the Nazis and recruits Sally into his spy ring on the night of their greatest exploit. Sally has been waiting for this chance to find out who his fellow conspirators are, especially their leader. To Sally's surprise, the leader turns out to be Madame Orlock, who is not Jan's mother. She reveals that one of the ships of an incoming convoy has been secretly replaced by another filled with explosives, which is to be detonated when they reach Halifax, wrecking the vital port, a plan inspired by a devastating accident of the First World War.
At this point, Jan reveals he is anxious to make up for a recent bungled secret mission to bomb British royalty which failed due to his contact man sending incorrect landmark signals to the bombers. This explains the opening sequence: Sally killed the Nazi agent and thwarted that mission. Sally finally learns that Jim is assigned to her when she catches him breaking into Jan's study to try to uncover evidence, just as she has.
Later, after being caught unawares after Orlock sneaks into her room, she thinks fast on her feet to explain her friendliness to Jim. Orlock believes she is a double agent, but she claims she is tricking the enemy and avoids being summarily executed. She then slips Jim a note written in lipstick advising him to wait at headquarters for information and heads off with Orlock.

Orlock orders Sally to telephone Jim and tell him that an attempt will be made to sabotage the Queen Mary, scheduled to sail later that night, and that all available agents should be immediately sent to stop it. Sally is able to warn of the actual plot to the British over the telephone. Canadian bombers are then dispatched to blow up the ship. Meanwhile, Jan shoots Sally before Jim can rescue her; fortunately the bullet is stopped by a cigarette case which he gave to her earlier, and she and Jim are married.

Production[edit]

Although never identified as Unity Mitford, the central character played by Neagle has some obvious similarities to the pro-Nazi British dilettante who had a great deal of notoriety in pre-war times.[6] In production during 1943, while the United Kingdom was still fearful of Nazi spies, Yellow Canary was obviously made as wartime propaganda, with the aim not only of keeping up morale but also of warning the British public to be on their guard.[7][8]Van Neste, Dan. "Richard Greene, Swashbuckler With A Double-Edged Sword". classicimages.com.Retrieved: 5 June 2011


Cast[edit]Production[edit]

Although never identified as Unity Mitford, the central character played by Neagle has some obvious similarities to the pro-Nazi British dilettante who had a great deal of notoriety in pre-war times.[6] In production during 1943, while the United Kingdom was still fearful of Nazi spies, Yellow Canary was obviously made as wartime propaganda, with the aim not only of keeping up morale but also of warning the British public to be on their guard.[7][8]
Yellow Canary co-stars Richard Greene and Margaret Rutherford went on to further success in other films. Rutherford was especially adept at scene-stealing in the film.[7] Greene was in the armed forces at this time, and had interrupted his successful acting career to serve in the Second World War in the 27th Lancers, where he distinguished himself. After three months, he went to Sandhurst and was commissioned. He was promoted to captain in the 27th Lancers in May 1944. He was relieved from duty in 1942 to appear in the British propaganda films Flying Fortress and Unpublished Story. In 1943, Greene appeared in Yellow Canary while on furlough.[9][10]
Although set aboard a ship in the early scenes, the majority of the principal photography for Yellow Canary took place at the massive lots at Denham Film Studios (D&P Studios), located near the village of DenhamBuckinghamshire. All of the location sequences of Halifax were strictly "B" roll, but did provide a realistic, "atmospheric" look at wartime conditions in the busy Canadian military and civilian port.[7]
In London in 1940, German bombers, drawn by a signal from Sally Maitland, a British Nazi sympathizer, drop their bombs on Buckingham Palace. When British soldiers rush to the source of Sally's signal, they find only the dead body of Oscar Borell. Sally, meanwhile, has taken a train to Liverpool, where she boards the S.S.Carina , a ship bound for Canada. Sally, who is known as the "Yellow Canary" because of her pro-Nazi sympathies, is snubbed by most of the ship's passengers except for Jan Orlock, a Polish refugee, and Lt. Commander Jim Garrick of British Naval Intelligence, who is traveling undercover as a supply officer for the British army. Sally welcomes Orlock's company but snubs Garrick. As the ship heads out to sea, it is followed by a German cruiser, which orders her to heave to. After the Germans commandeer the Carina , an officer boards the ship and demands that Garrick be turned over to the Germans. Orlock, who has seen his mother disabled and his home destroyed in a German raid, denounces the officer in perfect German. Sally watches as the Germans escort Garrick from the ship, but later discovers that the man taken prisoner was actually Garrick's double and the real Garrick is still onboard the Carina  After the Germans leave, Orlock tries to convince Sally of the heinousness of the Nazis and insists that she meet his mother, who is living in Halifax. When the ship docks at Halifax harbor, Sally takes a room at the Barrington Hotel, and the Royal Canadian Mounted Police assigns two agents to follow her. Orlock takes Sally to visit his invalid mother at the Chateau Brochet, and while Sally toasts the "new order," Madame Orlock drinks to old freedoms. Although Sally tells Orlock that they should stop seeing each other because of their differing political beliefs, he insists on calling for her the next afternoon. When Sally returns to her hotel room that night, she finds Garrick camped in a bed outside her door, claiming that it is the last available bed in Halifax. The next day, Sally joins Orlock and his mother on Signal Hill above the Halifax harbor. There, Orlock describes Halifax as Europe's gateway to the Atlantic and recounts the destruction of the harbor by a TNT explosion in 1917. When Sally and the Orlocks return to Chateau Brochet, they are visited by two Canadian agents, who warn the Orlocks that Sally is a traitor. Shaken by her accusers, Sally decides that she must leave Halifax. In reply, Orlock shows her his cigarette case which is encrusted with a swastika, and reveals that he is a Nazi undercover agent. After reaffirming his love for Sally, Orlock invites her to join his organization of Nazi spies, who he says will act "when the star rises," the phrase he spoke to the German officer aboard the Carina . After Sally returns to her hotel, the Orlocks are visited by Mrs. Towcester, a busy-body passenger from theCarina , who informs them that Garrick is a British Intelligence agent. As soon as Mrs. Towcester leaves, Orlock burns all his papers to insure that they will not fall into Garrick's hands. Later that night, Sally returns to the Chateau Brochet to search Orlock's study and is interrupted by Garrick, who is working undercover with Sally for British Intelligence. Back at the hotel bar, Sally informs Garrick that Orlock is a Nazi and that his organization plans to act shortly. At the door to her hotel room, Sally apologizes to Garrick for her rude behavior, and as she opens the door, he kisses her. Their embrace is witnessed by Orlock, who is seated in Sally's room. When the door closes, Orlock pulls out his gun and orders Sally to leave with him. In response, Sally slaps Orlock and accuses him of being a British agent who has betrayed their love. Sally's behavior regains Orlock's confidence, and he decides to introduce her to their leader. As Sally walks into the hotel corridor, she drops a message to Garrick, instructing him to go to headquarters and wait. On the drive to their meeting, Orlock tells Sally about how a man named Oscar Borell sabotaged their mission to bomb the King and Queen of England at their country palace by signaling the planes to drop the bombs on Buckingham Palace instead
Upon arriving at Chateau Brochet, Orlock introduces Sally to the other members of the ring, and she recognizes several of them as hotel employees. Then striding down the stairs, comes the group's leader, Madame Orlock. After informing Sally that she was only posing as Orlock's Mother, she tells the group that a German ship, loaded with TNT, has infiltrated a British convoy and will blow up Halifax harbor that night. She then announces that they plan to use Sally as a decoy and instructs her to call British Intelligence with the misinformation that the Queen Mary is the target of Nazi sabotage. As instructed, Sally phones Garrick at headquarters, but then smashes the lights and yells a warning about the planned sabotage of the harbor. Quickly switching on the lights, Orlock shoots Sally, who falls to the ground. Aware of Sally's danger, Garrick rushes to the chateau and takes the Nazis prisoners. Alerted by Sally's information, the British Navy singles out the German ship before it enters the harbor and bombs it into oblivion. Some time later in London, Sally, who was saved from the bullet's impact by Orlock's cigarette case, arrives home and is at last welcomed as a hero by her family. Sally then discovers that she was trailed by Garrick, who introduces himself to the Maitland family as their new son-in-law. 

Production Company:Imperator Film Productions, Ltd.
As appearing in Yellow Canary, (main roles and screen credits identified):[5]
  • Anna Neagle as Sally Maitland
  • Richard Greene as Lieutenant Commander Jim Garrick
  • Albert Lieven as Jan Orlock
  • Lucie Mannheim as Madame Orlock
  • Nova Pilbeam as Betty Maitland
  • George Thorpe as Colonel Charles Hargraves
  • Marjorie Fielding as Lady Maitland
  • Franklin Dyall as Captain Foster
  • Valentine Dyall as officer on German cruiser [Prinz Eugen ?]
  • Margaret Rutherford as Mrs. Towcester
  • Aubrey Mallalieu as Reynolds
  • Sybille Binder as Madame Orlock's Attendant
  • FULL SYNOPSIS

    powered by AFI
    In London in 1940, German bombers, drawn by a signal from Sally Maitland, a British Nazi sympathizer, drop their bombs on Buckingham Palace. When British soldiers rush to the source of Sally's signal, they find only the dead body of Oscar Borell. Sally, meanwhile, has taken a train to Liverpool, where she boards the S.S. Carina , a ship bound for Canada. Sally, who is known as the "Yellow Canary" because of her pro-Nazi sympathies, is snubbed by most of the ship's passengers except for Jan Orlock, a Polish refugee, and Lt. Commander Jim Garrick of British Naval Intelligence, who is traveling undercover as a supply officer for the British army. Sally welcomes Orlock's company but snubs Garrick. As the ship heads out to sea, it is followed by a German cruiser, which orders her to heave to. After the Germans commandeer the Carina , an officer boards the ship and demands that Garrick be turned over to the Germans. Orlock, who has seen his mother disabled and his home destroyed in a German raid, denounces the officer in perfect German. Sally watches as the Germans escort Garrick from the ship, but later discovers that the man taken prisoner was actually Garrick's double and the real Garrick is still onboard the Carina . After the Germans leave, Orlock tries to convince Sally of the heinousness of the Nazis and insists that she meet his mother, who is living in Halifax. When the ship docks at Halifax harbor, Sally takes a room at the Barrington Hotel, and the Royal Canadian Mounted Police assigns two agents to follow her. Orlock takes Sally to visit his invalid mother at the Chateau Brochet, and while Sally toasts the "new order," Madame Orlock drinks to old freedoms. Although Sally tells Orlock that they should stop seeing each other because of their differing political beliefs, he insists on calling for her the next afternoon. When Sally returns to her hotel room that night, she finds Garrick camped in a bed outside her door, claiming that it is the last available bed in Halifax. The next day, Sally joins Orlock and his mother on Signal Hill above the Halifax harbor. There, Orlock describes Halifax as Europe's gateway to the Atlantic and recounts the destruction of the harbor by a TNT explosion in 1917. When Sally and the Orlocks return to Chateau Brochet, they are visited by two Canadian agents, who warn the Orlocks that Sally is a traitor. Shaken by her accusers, Sally decides that she must leave Halifax. In reply, Orlock shows her his cigarette case which is encrusted with a swastika, and reveals that he is a Nazi undercover agent. After reaffirming his love for Sally, Orlock invites her to join his organization of Nazi spies, who he says will act "when the star rises," the phrase he spoke to the German officer aboard the Carina . After Sally returns to her hotel, the Orlocks are visited by Mrs. Towcester, a busy-body passenger from the Carina , who informs them that Garrick is a British Intelligence agent. As soon as Mrs. Towcester leaves, Orlock burns all his papers to insure that they will not fall into Garrick's hands. Later that night, Sally returns to the Chateau Brochet to search Orlock's study and is interrupted by Garrick, who is working undercover with Sally for British Intelligence. Back at the hotel bar, Sally informs Garrick that Orlock is a Nazi and that his organization plans to act shortly. At the door to her hotel room, Sally apologizes to Garrick for her rude behavior, and as she opens the door, he kisses her. Their embrace is witnessed by Orlock, who is seated in Sally's room. When the door closes, Orlock pulls out his gun and orders Sally to leave with him. In response, Sally slaps Orlock and accuses him of being a British agent who has betrayed their love. Sally's behavior regains Orlock's confidence, and he decides to introduce her to their leader. As Sally walks into the hotel corridor, she drops a message to Garrick, instructing him to go to headquarters and wait. On the drive to their meeting, Orlock tells Sally about how a man named Oscar Borell sabotaged their mission to bomb the King and Queen of England at their country palace by signaling the planes to drop the bombs on Buckingham Palace instead. Upon arriving at Chateau Brochet, Orlock introduces Sally to the other members of the ring, and she recognizes several of them as hotel employees. Then striding down the stairs, comes the group's leader, Madame Orlock. After informing Sally that she was only posing as Orlock's Mother, she tells the group that a German ship, loaded with TNT, has infiltrated a British convoy and will blow up Halifax harbor that night. She then announces that they plan to use Sally as a decoy and instructs her to call British Intelligence with the misinformation that the Queen Mary is the target of Nazi sabotage. As instructed, Sally phones Garrick at headquarters, but then smashes the lights and yells a warning about the planned sabotage of the harbor. Quickly switching on the lights, Orlock shoots Sally, who falls to the ground. Aware of Sally's danger, Garrick rushes to the chateau and takes the Nazis prisoners. Alerted by Sally's information, the British Navy singles out the German ship before it enters the harbor and bombs it into oblivion. Some time later in London, Sally, who was saved from the bullet's impact by Orlock's cigarette case, arrives home and is at last welcomed as a hero by her family. Sally then discovers that she was trailed by Garrick, who introduces himself to the Maitland family as their new son-in-law.
Director (59 credits)


Friday, August 12, 2016

Nuremberg

Editorial Reviews

Synopsis:- Europe, 1945. The war is over, but the battle for justice is about to begin. Twenty-one members of the Nazi high command stand in a charged courtroom inside Nuremberg's Palace of Justice. Twenty-one pleas of Not Guilty are entered. Will the trial of these notorious men be a forum for Allied vengeance or a quest for justice. Based on Joseph E. Persico's acclaimed book Nuremberg: Infamy on Trial and featuring momentous dialogueGoering's guard "Tex" taken from case transcripts, Nuremberg is a compelling courtroom drama about the post-World War II Trial of the Century. Alec Baldwin, Jill Hennessy, Christopher Plummer, Brian Cox and Max von Sydow star in this vivid work filled with intellectual fire and righteous courage.

Nuremberg
To the mind of many historical observers, nothing so defines the striking manifest differences between the horrific nature of the Third Reich from the more rational and compassionate constitutional democracies that largely comprised the Allies as the way in which the defendants of the trials at Nuremberg were handled. With painstaking precision (and at extraordinary cost in terms of international arm-twisting and back-door deals), the proponents of a judicial proceeding designed to illustrate the manifest individual guilt of the various Nazi officials forged a result that still stands today as a model of a non-retributive effort in the face of extraordinary pressure. In this carefully reearched and terrifically presented movie depiction of the events, one comes to appreciate the problems facing the Allies in proceeding with the trials.
And while one can hardly describe the Nuremberg trials as unflawed or perfect, they did prove to the world that the Allies were willing to subscribe to the existing canon of law to judge the actions of the Nazis.
Doing so was anything but easy, Indeed, achieving a fair result that would literally convince the watching world of the guilt of the participants in the war was anything but easy, and moving toward that deliberate goal is a theme providing an interesting theme punctuating the pace of the book. Churchill wanted revenge by way of summary trials and quick retribution, while the Russians just wanted to string up the whole group in a mass hanging. Yet American Supreme Court Justice Robert Jackson (Alex Baldwin) was able to resolve the differences well enough to proceed, although at times the viewer wonders if the trials will be anything like the fair-minded judicial event he has in mind.
Still, the efforts at conducting a fair and open forum for the world to watch as the prosecution and defense teams clashed before the international tribunal prevailed, and the trials concluded with mixed results in terms of the results. Most of the defendants were found guilty, and many were hanged.
Yet few observers doubted that the defendants had had their day in court along with and adequate opportunity to defend their actions to a watching world. Given how little justice and liberty they collectively allowed for their tens of millions of victims, it is remarkable just how civilized and dignified a proceeding the Nuremberg trials were, with all their theatrics and subterranean undercurrents.One marvels at the fact that after fifty years the world still stands in awe at the deliberate, careful, and methodical way in which the Allies achieved the result of a rational and fair trial of the defendants in history's most horrific modern nightmare, the terror of the Third Reich. This is an interesting and absorbing film presentation, and it is fascinating and entertaining to watch. It was also particularly interesting to me because it explores the lives of each of the defendants in looking at their individual guilt. I recommend it to anyone interested in learning more about these singular trials and their impact on history.
By givbatam3 on October 19, 2005
Format: DVD
The other reviewers have pointed out the importance of this film, so I would like to make a few points that may be important.

(1) As in so many Western films, the Russians (or, actually, Soviets) are a caricature-they are portrayed as uncouth louts.

I wasn't happy with the scene of the party at Jackson's house where the German butler and his wife refuse to serve the Russian judge because their son was killed on the Russian front.


Jackson's secretary tries to calm the situation without showing any understanding of the Russian's response that most of the victims of Nazism's horrors were residents of the USSR, simply dismissing it as politics. In reality, everyone admitted that the Soviet role in the trial was basically fair and constructive, in spite of the fact that the Soviet judges were totally under the thumb of Soviet dictator Josef Stalin who really was no better than Hitler and his Nazis whom they were supposed to be judging.


(2) Albert Speer is portrayed as a truly penitent Nazi technocrat. Many people, including Airey Neave (the British officer who presented the indictments and who was tragically murdered by the Irish Republican Army in 1979) felt that it was unfair to execute Nazi Labor chief Sauckel and to let Speer off to become a prosperous, professional "ex-Nazi" when all Sauckel did was round up laborers for Speers armaments industries. Speer does admit that he was always pressuring Sauckel for more laborers, but Neave and others feel that his remorse for what he did was mainly to get sympathy from the judges and that he never really confronted his own, direct personal responsibility for the horrors of the Nazi regime, rather than just the collective responsibility he accepted.

(3) Although judge Francis Biddle is shown to be a rather petty man, the film doesn't make clear that both he and Justice Jackson were miscast in their roles in the trial, because Biddle had a career as a prosecutor but was chosen by President Truman to be a Judge in the trial, whereas Jackson was a Supreme Court Justice yet was chosen to be a prosecutor in the trial.


(4) The film, probably correctly, leaves the role of Goering's guard "Tex" as ambiguous in his enabling Goering to get ahold of the cynanide capsule in order to cheat the hangman. It is not clear even today whether Tex really wanted to help Goering get the capsule, or whether it was just negligence and disobeyal of orders when he brought Goering the belongings he asked for.


(5) Psychiatrist Capt Gustav Gilbert's great "revelation" in discovering that the reason the Nazis did such terrible things was "a lack of empathy" is certainly over-simplistic. Although it is true that they were indifferent to the suffering they caused, this does not explain how they managed to set up an industrialized mass-murder machine and how they got much of Europe to at least passively accept the Holocaust.
Many people are indifferent to the suffering of others, but that doesn't mean they go out and deliberately cause suffering to their neighbors.

Having said these things, I still think everyone should see this film to understand the greatest tragedy of the 20th century-the Second World War.

Tuesday, August 9, 2016

Overlord

Overlord (film)

From Wikipedia, the free encyclopedia
Overlord
Overlordposter.jpg
Directed byStuart Cooper
Produced byJames Quinn
Written byStuart Cooper
Christopher Hudson
StarringBrian Stirner
Davyd Harries
Music byPaul Glass
CinematographyJohn Alcott
Edited byJonathan Gili
Release dates
  • 1975
Running time
85 minutes
CountryUnited Kingdom
LanguageEnglish
Overlord is a 1975 black-and-white film written and directed by Stuart Cooper. Set around the D-Day invasion ('Operation Overlord'), Overlord is awar film about a young soldier's meditations on being part of the war machinery, and his premonitions of death. The film was entered into the 25th Berlin International Film Festival, where it won the Silver Bear - Special Jury Prize.[1]

Contents

  [hide
  • 1Plot
  • 2Cast
  • 3Production
  • 4References
  • 5External links




    Plot[edit]

    Beginning with a premonition of his death, the film follows a young everyman  through his call up to the East Yorkshire Regiment, his training, his meeting a young girl, his journey to France, and his death on Sword Beach. Director Cooper also includes footage of the London Blitz and bombing of Europe to emphasise the events leading up to the invasion and the comparatively short distance between England and France.

    Cast[edit]

    OVERLORD

    Written by Chelsea Spear; Chelsea interviewed director Stuart Cooper in December 2005
    U.K., 1975. 85 min. Jowsend. Cast: Brian Stirner, Davyd Harries, Nicholas Ball, Julie Neesam, Sam Sewell John Franklyn-Robbins, Stella Tanner; Cinematography: John Alcott; Editing: Jonathan Gili; Music: Paul Glass Produced by: James Quinn; Written by: Stuart Cooper and Christopher Hudson; Directed by: Stuart Cooper.
    Every cineaste worth their stack of Criterions has a list of “holy grail” movies – films whose titles have been lost to time or whose availability has been restricted due to pressing distribution or legal issues. Chief among mine was Overlord, a British feature from the 1970s that used archival footage from the Imperial War Museum to observe the story of a doomed British soldier. I’d first heard about the film from John Gianvito, an esteemed local cineaste who recommended it to me after seeing a dreadful short I’d made that incorporated found newsreel footage. Unfortunately,Overlord’s entire American distribution amounted to a few broadcasts on the esteemed LA pay cable station Z Channel, followed by a weekend engagement at New York’s Walter Reade Theatre in 1985. While bootlegs of the Z broadcast and British VHS tape existed, finding them on the cult-driven black market made for a challenge.
    Director Stuart Cooper describes Overlord as “a black and white war film made under the auspices of the Imperial War Museum…the storyline follows a young soldier who’s called up and trained and sees first action in the first wave on V-Day in June of ’44. Part of the dramatic hook is that the soldier has premonitions of his own death while going through boot camp and getting ready. The dramatic hook: whether he will survive or not.” This may sound like many other war dramas, but the use of archival footage sets the film apart. “What’s unique apart from the narrative is that we used quite a lot of archival footage, much of which was never before seen. The technical aspect of this is remarkable – the use of the archive set against the dramatized footage is absolutely seamless. You can’t tell where the archive begins and ends.”
    :

    Cooper, a well-regarded American expatriate, had previously made two dramatic features in London, including the acclaimed Little Malcolm with John Hurt. The inspiration for Overlordcame from a documentary he had been hired to direct. “I was approached to do a documentary for the Imperial War Museum based on a huge embroidery that was to be the World War II equivalent of their tapestry of the Boer War. This would be a huge tapestry to portray. I took the job, I was interested, I shot needlework and some editorial cartoons that had been prepped in London. At the Imperial War Museum they have 39 million feet of footage on WWII. I got into the archive and researched, learned about the Army, the Navy, the Air Force, and watched documentaries and newsreels. This was a great opportunity to make a fairly emotional picture using the archive to tell the story.”
    As he watched the footage, a story slowly came together. “It was an interesting process – sketch in the story and see what the archive could support. I couldn’t expect the archive to work into the movie. After I got a taste of the archive, I organized the story and found the archive would support a dramatized story. Because D-Day was important, I was able to find a tremendous amount of footage.”
    An eerie, elliptical drama came of this effort, in which nightmarish footage of minesweepers, missiledropping planes, and disemboweled air raid victims alternates with footage of soldiers training and coping with the realities of war. While the archival footage puts viewers in the thick of the action, the raw, disarming realism of the acting brings to mind the postwar “kitchen sink” movement, which favored straightforward acting and unknown character actors over the stylized approach and matinee idols of the previous generation. This haunting film suggests what the beloved Twilight Zone episode “An Occurance at Owl Creek Bridge” would look like had Stanley Kubrick helmed it.
    Cooper and his crew set out to make a film that looked as if it could be found in the IWM’s archives. Working with the IWM allowed Cooper access to many resources he might not have had otherwise. “…I was working with the IWM. This is what they’re good at. I used a lot of people at IWM for their props, costumes, and to make sure of authenticity. I built sets at the IWM and they helped with building the barracks. My cast went into boot camp with a platoon of young Marines in Ireland…The film is totally real and authentic.”
    The film’s authenticity extended to the cinematography. Cooper scoured Europe for lenses used with 1930s and ‘40s cameras, used vintage film stocks, and collaborated with cinematographer John Alcott – a favorite DP for Stanley Kubrick and Luis Bunuel – on finding a photographic style similar to that of 1930s and ‘40s films. “We wanted to make something that looked as if it came from the archive,” Cooper notes. They were so successful in this task that at the film’s premiere at the 1975 Berlin Film Festival, Alcott frequently asked Cooper “Did we film this, or was this archive?”
    Overlord received the Silver Bear award in Berlin and became a moderate success in Europe, spawning a similarly well-researched movie tie-in that’s still used to teach D-Day in British history classes. Cooper’s initial search for an American distributor came not long after the Vietnam War, “and we were never able to crack distribution.” The film’s American fans included Jerry Harvey, figurehead and programmer for the influential pay cable station Z Channel. In Xan Cassavetes’ documentary Z Channel: A Magnificent Obsession, Cooper recounted the memorable trans-Atlantic phone call that led to this broadcast, which took place at 2am with the mercurial Harvey initiating the call by asking Cooper, “how come I don’t know you?”
    Though Z Channel only broadcast to about 100,000 homes in the Los Angeles area, its subscribers were well-connected film industry professionals who knew a good thing when they saw it. On Cooper’s return to California, he found himself at a dinner party with a television producer who saw Overlord on Z and offered him the opportunity to direct A.D. The popularity of this ambitious miniseries – which was shot in Tunisia with 400 speaking roles and a cast that included Colleen Dewhurst and James Mason – led to the second phase in Cooper’s career; namely, the broadcast TV phase. “The best reason [for this jump] is simply that I moved from London to Los Angeles. … The fare is different. In order to survive, you have to work, and you don’t get the flexibility that you might have in Europe. When I was approached to do a miniseries, I said ‘I can do that.’ It’s an interesting exercise, and it involved very few elements that didn’t come into play. The downside is that you’re at the top level of network TV, and after making all these esoteric films, I made a huge miniseries — and everyone wanted me to do another one!” Many fans of Cooper’s earlier work might look askance at his 1980s and ‘90s filmography, which ran from the sublime (a remake of The Long Hot Summerwith Burt Lancaster and a collaboration with Sophia Loren) to the ridiculous (“women-in-peril” movies with titles like Out of Annie’s Past that featured Lifetime leading ladies Stephanie Zimbalist and Michelle Phillips). He regards his cable TV movies as boot camp and compares his experiences to those of Roger Corman’s protégées. “If you’ve done something for hire, there’s always something to learn – even if [you’re not making] another Overlord,” he wryly observes.
    Ultimately, however, you can’t keep a good movie down. In the Z Channel director commentary, Xan Cassavetes praised Overlord as “the best movie you’ve never seen”, and sent a copy along to Jonathan Turrell of vintage film distributor Janus Films and classic DVD canon The Criterion Collection. This resulted in a 22-city theatrical release and a DVD to follow in early 2007, marking the first timeOverlord has had theatrical or home video distribution in the United States. Early response has been terrific, supported by rave reviews from none other than Roger Ebert and post-film Q&As that have lasted two to three hours.
    After hitting a wall with the initial theatrical release, why is this film hitting such a chord now? In a word, Iraq. “The Q&As have all had to do with the business of war. Wars themselves and dates have changed, but the business hasn’t… This is a very authentic look at the human experience of war … Maybe that’s where the strength of Overlord lies; the personal relevance and the connection audiences make between what they see on TV. Film connects people, and part of this film is that lesson.” Additionally, the use of the archival footage has impressed even film archivists, who have never seen anything like it. Though the rarely screened Overlordis in a class by itself, you can feel its influence in features like Good Night and Good Luck, whose use of archival footage Cooper praises as “adventurous”. Even the hushed tone and eerie, grotesque visuals of Guy Maddin’s Archangel follow inOverlord’s film perfs.
    Cooper will be following up the belated success of Overlord with some adventurous films, most notably a new version of The Old Man and the Sea with Omar Sharif in the title role. He also hopes to shoot the first narrative feature to be shot on the IMAX 60mm film format.
    As for myself, I received a copy of Overlord in the mail not long after conducting this interview. After looking through the dregs of Kim’s Underground with the hopes of one day finding it, getting the dust off this cinematic chalice gave me a unique thrill, and I look forward to seeing a print of it (at my favorite movie theatre, no less) with great anticipation.