This movie reminded me of three other movies I can remember, and one I can't put my finger on that also used a mix of archival footage and fictional narrative. The three I can remember are Saving Private Ryan, Full Metal Jacket, and Paths of Glory. The first two are obvious, as the film documents one soldier's journey from training to his first and last moment of battle at Normandy beach on D-Day. The latter came to mind frequently while watching because both films are about man's subversion to a system, the individual's loss of identity from a military tradition that values power or authority or even "the greater good" over a life.
Oddly enough, I found out after watching the film that John Alcott was the cinematographer on the film. Alcott worked on Kubrick's output during the 1970s, including Barry Lyndon, which was filmed using only natural light and candles, and is certainly one of the most startlingly beautiful films ever made. Though he didn't work on either of the Kubrick films that Overlord reminded me of, it makes sense that there would be a link between this film and Kubrick, who also loved documentary footage (he began his career as a photographer) and made three significant war films in his career.
The film itself is a bit slow and super depressing, but is unique in a bare bones sort of way. Destruction dominates, and the story of the soldier is so straightforward as to be drained of any real impact. We know from the beginning that he will die, so we don't really care when it happens. Perhaps it is this soul draining separation from death that the film was trying to achieve in the first place. Either way, it's an interesting film that is more unique than exemplary.
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