Product Description

Seamlessly interweaving archival war footage and a fictional narrative, Stuart Cooper’s immersive account of one 20-year-old’s journey from basic training to the battle front lines at D-day brings all the terrors and isolation of war to its viewers with jolting authenticity. Overlord, impressionistically shot by Stanley Kubrick’s longtime cinematographer John Alcott, is both a document of WWII and a dreamlike meditation on man’s smallness in a large, incomprehensible machine.

Product Details

• Amazon Sales Rank: #30423 in DVD
• Brand: IMAGE ENT.
• Released on: 2007-04-17
• Rating: NR (Not Rated)
• Aspect ratio: 1.66:1
• Formats: Black & White, DVD, Widescreen, NTSC
• Original language: English
• Number of discs: 1
• Running time: 83 minutes

Features

• Seamlessly interweaving archival war footage and a fictional narrative, Stuart Cooper s immersive account of one twenty-year-old s journey from basic training to the front lines of D-day brings all the terrors and isolation of war to life with jolting authenticity. Overlord, impressionistically shot by Stanley Kubrick s longtime cinematographer John Alcott, is both a document of World War II and a

Amazon.com
To borrow a phrase from Film Comment editor-at-large Kent Jones, "unjustly forgotten and now happily resurrected" is the best way to describe Criterion's superb DVD release of Stuart Cooper's Overlord. Relatively unseen since its European theatrical release in 1975, this moody, well-crafted meditation on one soldier's preparation for battle employs a remarkably seamless combination of fictional narrative and amazing World War II footage from the archives of England's Imperial War Museum. While this "reel + real" technique is relatively common, director Stuart Cooper (an American filmmaker working in England) applied meticulous archival research to ensure that the documentary footage was logically and authentically integrated with his fictional narrative (cowritten with Christopher Hudson) to lend convincing verisimilitude to his simple, straightforward story of a young British soldier's anxious days prior to joining the front line in the D-Day Invasion of Nazi-occupied France (a.k.a. "Operation Overlord"--June 6, 1944). Haunted by a premonition of his own death, Tom (Brian Stirner) goes about his pre-battle business as any soldier would (including a touchingly sweet romance with an equally shy British girl, played by Julie Neesam), and as Overlord progresses, we see how the individual soldier is gradually absorbed into the massive machinery of warfare. Brilliantly filmed in black and white by Stanley Kubrick's frequent cinematographer John Alcott, Overlord succeeds as a thought-provoking study of war from intimate to epic scales, in addition to being an impressive technical achievement that's stylistically connected to the experimental narratives of the 1970s, yet still firmly rooted in the nobility of British war films from the 1940s. --Jeff Shannon

On the DVD
As always, the Criterion Collection did extensive research to provide Overlord with a wealth of informative supplements. Director Stuart Cooper and actor Brian Stirner share the DVD's feature-length commentary, and Overlord's historical context is thoroughly explored, beginning with "Mining the Archive," in which the Imperial War Museum archivists provide background history on the archival footage that director Stuart Cooper so carefully integrated into his narrative. "Capa Influences Cooper" is a photo essay in which Cooper explores the influence of legendary war photographer Rober Capa on the visual and emotional content of Overlord, and this emphasis is further supported by "Cameramen at War," a newsreel tribute to wartime photographers and newsreel cameramen, featuring some of the Imperial War Museum's most spectacular footage from World War II. "Germany Calling" is an amusing example of archival propaganda (produced in 1941 by the British Ministry of Information and briefly excerpted in Overlord) which ridicules Hitler's Nazi regime by synchronizing Nazi rally footage so a silly British melody. "A Test of Violence" is Stuart Cooper's 1969 short tribute to the bleak, war-themed paintings of Spanish artist Juan Genovés; it was this film that led Cooper to create Overlord. Also included is Stirner's dramatic reading of journals by two Scottish D-Day soldiers whose experiences parallel those of Stirner's character in Overlord; the film's original theatrical trailer; and a 30-page booklet with an Overlord essay by Kent Jones, a short history of the Imperial War Museum, and excerpts from the Overlord novelization by Cooper and cowriter Christopher Hudson. --Jeff Shannon

Customer Reviews

Special features practically outdo the film
"Overlord" is a curious film that blends archival footage into a fictional account of a typical British soldier preparing for the D-Day invasion. While I found "Overlord" lacking as a narrative, it was a worthy cinematic experiment and should be of particular interest to anyone interested in World War II.

Made in England in 1975 with the help of the Imperial War Museum, "Overlord" was not released in the United States until 2006. This long overdue DVD release helps atone somewhat for the film's long absence from North American markets.

"Overlord" is a short sometimes choppy story that manages as well as might be expected to integrate actual footage of Nazis and Allied troops in action including bombing raids and their devastating results. While the focus of the story is on one soldier's enlistment in the British Army and training for D-Day, it is an at times powerful meditation on war's effect on individuals. "Overlord" specifically examines the mindset of soldiers preparing for battle especially as they face the reality of their own mortality.

The real triumph of the DVD is the bonus features. On one such feature two representatives of the Imperial War Museum speak about the making of the film, specifically the archival footage. Another is a tribute to war photographers that was made in 1943. "Germany Calling" produced by the British government's propaganda arm during the war, is a very funny spoof of the Nazis.

As is always the case with Criterion films, the DVD is pricey (they don't do anything on the cheap) but as is also always the case with Criterion, the movie and all features are presented in pristine condition.

"Overlord" is an important edition to the many outstanding films on World War II, bold in its ambition and significant for its use of actual footage. And in this DVD release, the bonus features are not just add ons.

EXTRAORDINARY
This incredible film is a dreamlike recreation that mixes real vintage footage with original film as it follows an ordinary young British bloke from his military induction to D Day.

Wonderfully evocative on every level. The photography is extraordinary. Powerful images shimmer next to the sublime. The very human dilemma of how to make sense of life and war has never been told better. A great film.

"A smaller and smaller part of a bigger and bigger machine...." (3.5 stars)
One young British soldier, who celebrates his 20th birthday while training for the impending D-Day invasion, writes a letter to his parents and tells them that as time passes, he feels like a smaller and smaller part of a bigger and bigger machine.

Being a small component of a massive device is the central idea behind Stuart Cooper's "Overlord," an odd, hazy, child's-fever-dream of a movie that uses staged black-and-white scenes interspersed with actual archival footage from World War II.

We follow Tom (Brian Stirner) through a drab, dispiriting round of basic training; his experiences are interspersed with separate scenes of battle, of invasion and aftermath to illustrate events going on "meanwhile" all around him, events leading up to Normandy.

The movie is a truly unique visual experience. John Alcott shot the storyline scenes (just before he began work on "Barry Lyndon") and the movie has a look not unlike "The Elephant Man," or its thematic brother, "Johnny Got His Gun."

Though the incorporation of actual footage is very smooth, I never had any trouble distinguishing what came from the 40s and what was shot in the 70s. That didn't ruin the experience for me: Look at the hauntingly beautiful scenes involving bombers flying above the cloudline at night, or a harrowing training sequence in which a rowboat ditches its passengers onto rocks (Cooper reveals in his commentary that one or two men actually died during the exercise).

With its short, spare narrative and its stark conclusion, "Overlord" almost feels like a short story of a movie, but that doesn't downplay its impact or importance. This is a little-known movie worth reviving and it gets a fine Criterion presentation here. The commentary with Copper and Sterner is particularly good; it's worth listening to to hear how they did it even if you don't particularly connect with the film.