The war genre is one
of the most versatile visual mediums. Films range from existential horror
to heartbreaking stories of heroism and sacrifice. Texas auteur Brett Bentman's
latest offering is a compact, high voltage dose of gripping action while
also being an unexpected foray into the humanity of those who fight.
Featuring a remarkable ensemble, pristine visuals, and a refreshing take on the
"mission" trope, Operation Overlord is a thoughtful rumination
on honor and friendship.
Days before the invasion of Normandy, Allied forces learn that one of their own
has been captured and under duress, may divulge the details of the legendary
operation. Two soldiers are sent on a possible suicide mission to rescue
their ally in order to ensure the Nazi's defeat. Bentman's script is the
strongest element. On the surface, the plotline seems predictable and
derivative of other war stories. However, as the two principals begin
their sojourn into Nazi territory, what begins as a simple rescue film slowly
evolves into a military hangout picture. The interactions between Thom
Hallum's Brown and Billy Blair's Anderson are the heart's blood of Overlord.
Even while under fire, there's an undeniable ambiance of humility and grace
that Hallum and Blair bring to the proceedings.
This is juxtaposed with the violence. Easily Bentman's most brutal feature, each engagement within the complex feels tense. Bullets, blades, fists, and even fire are the weapons that are wielded in lost corridors and blood-stained prison cells. Scott Ross's cinematography frames each of the encounters with a sense of vulnerability that only increases the stakes of each confrontation. Jeff Hamm's editing strings together the carnage with an operatic sense of cohesion. Balancing the human moments in between the insanity of war is a delicate task and Bentman and his team miraculously present them in tandem.
Stacey Sheffield's
Private Donovan is perhaps the greatest symbol of this achievement. His
performance is both a welcome surprise and refreshing subversion of
expectations. This is a film about flawed people trying to do their best
while living in a nightmare. Sheffield's Donovan is emblematic of this
concept, harnessing fear, hatred, and rage in a vortex that is relatable and
organic. In the end, these are people who the viewer wants to succeed and
has no problem rooting for them because Bentman has given them substance and
character.
On the other end of the spectrum are Tom Zembrod and Robert Keith's villainous
Nazis. Keith spends the duration of the picture forgoing chewing and
opting to annihilate the scenery with his Siegmund, the officer in charge of
Sheffield's interrogation. His final confrontation with Hallum is one of
the best sequences of the film, as flawed good and pure evil collide.
Zembrod's Koch is an enigma, a subservient officer whose motivations
remain obfuscated throughout. His chemistry with Keith is what makes the
dynamic work, and the yield is a pair of memorable bad guys who somehow both
lean into the stereotypes and upend them.
Coming soon to video on demand, Operation Overlord is one of
Bentman's best films. A departure from the Texas criminal
underbelly, this is a unique war film that tells a simple story with vibrant
characters that puts the mission in the background and the personalities in the
fore. The result? An innovative approach to a genre in desperate need of
creativity that will not disappoint.
--Kyle Jonathan