A singular narrative of one soldier’s story as he preps for the upcoming June 6, 1944 D-Day invasion British style in Overlord. From induction through basic training up to heading into Normandy on the landing craft we get inside looking out surrealism. Our protagonist Tom Beddows is an everyday Englishman who explores his dismal destiny as that hour draws ever near.

In 1975 Stuart Cooper directed a captivating vision using years of research, data/files, back catalogs, news reels, stock footage from all factions of war correspondents, a lithe script, troops, military equipment, and flying craft to splice, thread, forefront, and backdrop – all from the Imperial War Museum to add substance and sustenance to his story. A daunting task that ushers a unique look at war and it’s ramifications from all sides especially those leading to initial engagement. As the machinations of allied forces collect and gather on the southernmost British Isles we see how minor but essential the individual players become.

To flush out one common, innocent youthful man, one who was but a boy a few days before and drape this historically world changing event we have to awake from his dream and challenge a stark reality, a finality, an invocation, and eulogy of uncommon valor. Asking the hard questions, would we all be so brave or shame ourselves cowardly?

Beautifully shot in pristine black and white, then intricately woven with addition historical footage Overlord is unlike anything else. In the telling of one, we speak of and to us all. This is the battle won on the inside. The battle won before we ever start. Poetically, a memorable mark in the celluloid reels of cinema. Overlord is much more than a war film. It is the continuing journey in quest to answer those questions always just beyond.