I like the storyline of this show,it attract me so much

Self-important, over-dramatic, uninspired.

Absolutely brilliant

n my opinion it was a great movie with some interesting elements, even though having some plot holes and the ending probably was just too messy and crammed together, but still fun to watch and not your casual movie that is similar to all other ones.

Stuart Cooper's Overlord is a meditation on the mechanics of war and the young souls swept into it. After winning the Silver Bear at the 25th Berlin International Film Festival, the film became incredibly obscure until recently, when it was given the restoration it deserved by the lovely folks at Criterion. Beginning in a quaint English home and ending on the beaches of Normandy for 'Operation Overlord' during World War II, it's a simple yet hypnotic story of a young private named Tom (Brian Stirner) and his slow journey to a death he feels is inevitable. The very first scene shows an out-of- focus soldier running from or towards an unknown threat before being shot down, only to be revealed as a dream sequence. This vision plagues Tom's thoughts, but he nevertheless remains somewhat chipper about it.What makes this very personal journey so incredibly powerful is the sense of impending doom. Tom always seems to be on the move, be it on a train or an army jeep, as if he is making a slow trek towards his fate, and he chooses this time to daydream. Despite not knowing where the war is heading or if he'll even see combat, he somehow knows he is going to die but remains nonchalant about it. A nice boy, well spoken and slight, Tom is not built for the army, but he does what he is told and makes friends. The only time we really see his personality come to the fore is when he meets a pretty young lady (Julie Neesam) and the pair enjoy what little time they have together. He tells her they'll meet again, but we know they won't. In making Tom such an everyman, Overlord studies the anonymity of battle, and celebrates the millions of unknown soldiers who have charged into certain death without really understanding why.Starting out life as a documentary, Cooper later made the bold decision to use the startling archive footage provided by the Imperial War Museum and weave a narrative through it. Cinematographer John Alcott (who collaborated with Stanley Kubrick on the likes of 2001: A Space Odyssey and Barry Lyndon) employs grainy black-and-white photography for the central story so it is interchangeable with the stock footage. The result is staggering. By adding sound, scenes of devastating city bombings become hellish nightmares, and a beach landing turns into something out of science- fiction. In a bizarre scene, a water wheel device powered by mini rockets rolls across the water and onto land, hoping to detonate any landmines or unexploded bombs before mightily toppling over. It's World War II like you've never seen it before, and it's real. It's a winning combination of observational and personal, making Overlord one of the most innovative and devastating humanist war films ever made.

Overlord is about a young British soldier and his experiences as he trains and prepares for battle. As the day of the invasion draws nearer, he becomes increasingly convinced that he will be killed. He accepts his fate and he has dreams and visions the approaching battle as well as of the woman he met shortly before shipping out, to whom he never had the chance to say goodbye.The film is very well done and does a brilliant job or seamlessly cutting between the original movie footage and stock footage shot during the Second World War. The footage that was shot for the film itself was done so on the same old style of film used during the war for the sake of consistency. Much of the time I couldn't even tell which shots were real and which were staged.But the best part of the film is the narrative. It is told in an unusual, heavily introspective style that focuses on feeling more than story. Nothing is overly explained the way it is in so many other films to drive home a message or a plot point. Some things appear to be left deliberately vague, unexplained, or ambiguous.But a funny thing happened when watching this film: I realized that, because the story focused on the soldier's feelings instead of specific events and explanations, the whole story made even more sense than it ever could have otherwise. This was the first time I experienced such a revelation when watching a movie and it was something I had never even considered, but in hindsight it makes perfect sense. I don't know if that was what the filmmakers were going for exactly, but it really works on that level!

During the war a young lad is called up and, with an increasing sense of foreboding, undertakes his army training ready for D-day.This docu-drama is a mix of archive footage and a "new" story. This required the film to be shot in black and white, which makes it blend better but also adds a more powerful aesthetic. By 1975, color was quite predominant, but there is just something color cannot do: some of the best images will always be in black and white.The film is beautifully shot by John Alcott, who had previously worked alongside Stanley Kubrick on "2001" (1968) and "A Clockwork Orange" (1971) in a supporting cinematographer role. Shortly after finishing "Overlord", he won an Oscar for Kubrick's "Barry Lyndon". Director Stuart Cooper pointed Alcott towards Hungarian war photographer Robert Capa (who had died in Vietnam in 1954). The result is excellent.

Mixes archival footage of World War 2, with fictional story of a young man getting ready to go off to war. The archival footage, serves as the young man's thoughts and fears about going into battle. Scenes of air raids and bombings are spliced together with the scenes of sitting on the bus, being polite, and just doing normal everything things. The film ends with D-Day, where our hero is among the first to storm the beach, the point where fact and fiction finally meet. Strange, and bizarre military weapons you have never seen before(the rocket wheel???), the barbed wire removing vehicle, appear throughout as well as amazing Arel footage. The most unique and effective "war" film ever seen. Like Ambrose Bierce's "An Occurrence At Owel Creek", for the WW2 generation. It really puts you in the place, not of a soldier, per say, but of a human being, undergoing the process of becoming a soldier, facing the dread, anxiousness, and absurdity, with a solemn dignity, "Im not frightened", he writes to his parents, admitting he is almost certain he is not coming back.Overlord cannot easily be place as either a pro or anti-war film. The situation of a gentle, very boyish, nice guy being sent off to the worlds most violent and dangerous conflict in all it's history (he takes a copy of "David Copperfield" with him, so he will have something to read.), is absurd, but it's not handled for irony. There is a scene, where two soldiers are off for R&R and they stumble across a theater, where a young girl is being forced to sing, by her mother in practice for some kind of competition. When the soldiers enter, the mother demands she sing again, though the daughter is even more shaken by the unexpected audience. She sings, and about halfway through the soldiers walk off, in disgust or discomfort, the mother still begging them to stay and listen. Do the soldiers want to fight? No more than this girl, wants to sing,but for mother and mother country, they both do their share. The reason to watch this film, is because it contains none of the usual images and ideas we come to expect from war and anti-war films. Englad took tremendous beating during World War 2, for years sending their sons to stem,the rising tide of Nazism, inching ever further across the sea between them. Overlord, is thus not the story of heroic victory, or the horrors of war, it's the story of the guy who got sent out, the day-after he made a date(from his level of excitement, maybe his first),and who will probably not be making it back...