![]() bomber flying toward France as part of the coordinated Allied invasion on June 6, 1944. That is essentially the gist of Overlord, which opens in a U.S. Late in the decade, low-budget American horror director Ken Wiederhorn introduced the idea of undead Nazis super-soldiers in Shock Waves (1977), an idea that took hold and has been recycled numerous times ever since. The Third Reich left behind a particularly horrendous legacy of medical and experimental horrors that could be cinematically exploited for uniquely grisly effect, and the ’70s were awash in such low-brow efforts, most of which were sexually explicit romps like Ilsa: She-Wolf of the S.S. Instead, it is a gory throwback to ’70s Nazispolitation films, although it doesn’t have the conviction to truly follow through in its homage to that particularly sleazy strain of European trash cinema. Abrams-produced Overlord, despite also being set during World War II and sharing the same title (which refers to the code name for the Allied invasion of Europe), has absolutely nothing to do with Cooper’s film’”quite the opposite, in fact. ![]() Produced as a commemoration of the 30th anniversary of D-Day, Cooper’s film is simultaneously a realistic portrait of warfare and a poetic evocation of loss in which some of the most emotionally transcendent moments transpire in the realm of dreams. At the 1975 Berlin Film Festival, the Silver Bear (the festival’s highest award) was shared by Stuart Cooper’s Overlord, a war drama that was a remarkable combination of archival documentary footage from World War II (culled from hundreds of hours) and a fictional narrative tracing the path of a young British soldier from his home to the beaches at Normandy.
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