Directed by | |||
| Robert Harmon | |||
Writing credits(WGA) | ||
| Lionel Chetwynd | (written by) | |
Produced by | |||
| Dennis A. Brown | .... | producer | |
| Lionel Chetwynd | .... | executive producer | |
| Tim Christenson | .... | associate producer | |
| David Craig | .... | supervising producer: A&E Network | |
| Delia Fine | .... | executive producer: A&E Network | |
| Stephanie Germain | .... | executive producer | |
Original Music by | |||
| Jeff Beal | |||
Cinematography by | |||
| David Gribble | (director of photography) | ||
Film Editing by | |||
| Chris Peppe | |||
Casting by | |||
| Terri De'ath | (as Terri De'Ath) | ||
Production Design by | |||
| Ralph Davies | |||
Art Direction by | |||
| Nick Bassett | |||
| Andy McLaren | |||
Set Decoration by | |||
| Jill Cormack | |||
Costume Design by | |||
| Lesley Burkes-Harding | |||
Makeup Department | |||
| Lon Bentley | .... | makeup designer: Mr. Selleck | |
| Susan Glass | .... | key makeup artist | |
| Paul Pattison | .... | hair stylist supervisor | |
| Paul Pattison | .... | makeup supervisor | |
| Kimberley Spiteri | .... | hair stylist supervisor: Mr. Selleck | |
Production Management | |||
| Liz DiFiore | .... | production manager | |
| Ronnie Hape | .... | unit manager | |
| Cynthia Stegner | .... | post-production executive (uncredited) | |
Second Unit Director or Assistant Director | |||
| Katie Flannigan | .... | second second assistant director | |
| George Lyle | .... | first assistant director | |
| Katie Tate | .... | second assistant director | |
Art Department | |||
| Viv Kernick | .... | property master | |
| Murray Sweetman | .... | construction manager | |
Sound Department | |||
| Alan Decker | .... | sound re-recording mixer | |
| Wayne Heitman | .... | sound re-recording mixer | |
| Tony Johnson | .... | production sound mixer | |
| Mark Larry | .... | sound supervisor | |
| Michael O'Corrigan | .... | sound supervisor | |
| Tim Philben | .... | sound re-recording mixer | |
Special Effects by | |||
| Gunner Ashford | .... | special effects | |
Visual Effects by | |||
| George Port | .... | visual effects supervisor | |
Camera and Electrical Department | |||
| Rob Marsh | .... | camera operator | |
| Jay Munro | .... | key grip | |
| Sean O'Neill | .... | gaffer | |
Casting Department | |||
| Yvonne Bennett | .... | extras casting coordinator | |
| Susie Maizels | .... | casting: Australia | |
Costume and Wardrobe Department | |||
| Erin O'Neill | .... | costume supervisor (as Erin O'Neil) | |
Editorial Department | |||
| Amy Flint Catherwood | .... | assistant editor (as Amy Flint) | |
Music Department | |||
| Craig Pettigrew | .... | music editor | |
Transportation Department | |||
| Ronnie Hape | .... | transportation manager | |
| Chris Wildermoth | .... | vehicle wrangler | |
Other crew | |||
| Gunner Ashford | .... | armorer | |
| Paul Carran | .... | production services: Film Factory New Zealand Limited | |
| Helen Mackenzie | .... | production accountant (as Helen MacKenzie) | |
| Dianne Moffatt | .... | script supervisor | |
| Robin Murphy | .... | location manager | |
| Lyn Willis | .... | production coordinator | |
| Marlea Willis | .... | senior unit publicist: A&E Network | |
| Alejandro de Quesada | .... | historical consultant (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb USA section |
Dwight D. Eisenhower was the perfect choice for Supreme Commander of the Allied Expeditionary Forces that stormed French beaches on the one D-Day that indelibly evokes 6 June 1944. Having successfully commanded the forces that invaded North Africa and subsequently Sicily, Eisenhower was the right man at the right time, the indispensable molder of a coalition with perhaps too many headstrong generals and admirals. All these senior officers had combat command experience-Eisenhower never left the United States during World War I. He was a remarkably competent staff officer whose abilities were noted by, probably, the shrewdest judge of Army men in America, George Marshall. And Marshall elevated his protege from lieutenant colonel to General of the Army in a very short period.
The problem with portraying Eisenhower in the tense and confusing period before the actual invasion is that never-ending talk, not action - briefings, meetings, staff reports - were the basis for the Supreme Commander's decision to launch the invasion or postpone it. Weather issues were critical but The Weather Channel has much more excitement every night than that found in the calm, Scottish-accented reports RAF Group Captain Stagg, Eisenhower's meteorologist, delivered several times a day.
"Ike: Countdown to D-Day" has no battle sequences nor does it explore the emotional territory of the fighting men who would begin what Eisenhower termed "The Great Crusade," the title of his postwar bestselling memoir.
Tom Selleck, in an outstanding performance, captures the nuances of a general with high ideals and a simple but consummate love of his country. British generals and some American ones, including Patton, decried Eisenhower's lack of battlefield command experience and even his ability to grasp complex tactical situations. They were, to a certain degree, correct but what they missed was that his job was not to micro-manage combat but to hold together men of extreme temperaments and often mutual dislikes against the forces that might pull them apart and damage the coalition effort.
Selleck's Eisenhower is quiet, thoughtful and fully engaged in being an ALLIED leader and his gifts in that capacity are well reflected by this actor. Yes, some incidents are perhaps subject to challenge by the historically knowledgeable (including me) but in the main this is as accurate a movie dramatization of D-Day planning and decision-making as we're likely to get.
While Eisenhower's driver and confidant, Kay Summersby, an attractive Englishwoman in uniform, is present kudos go to the writers and director for not hyping up the film with an unnecessary romantic digression into the general's alleged extramarital affair with the winsome chauffeur.
This film might bore some but it's a fairly good capture of the tensions and issues preceding the issuance of one of the most momentous orders in the history of warfare: "Let's go!," Eisenhower simple command that translated years of preparation into a massive assault that presaged the liberation of Europe.
9/10