This film tells the true story of how a bunch of writers, artists, set designers and back room technicians pooled their talents in order to outwit the German High Command and fool Hitler. Espionage, counter espionage, decoy airfields, inflatable tanks, guns and soldiers are all deployed in the run up to D Day to create a massive diversion and the strongest possible indication that the landings will be in Calais rather than Normandy. A whole invisible army is conjured up: FUSAG the First US Army Group. General Patton is placed in charge of this army, such is its importance he is detained in Britain for several weeks after the Normandy landing in order to (successfully) convince Hitler that a second and larger set of landings will be staged in Calais. A true story. Written by
Towards the end of the film one of the dummy camps is overflown by a computer generated JU87 Stuka. This clearly has no undercarriage whereas all marks of Stuka had permanently fixed down landing gear. Nor would such a slow vulnerable a/c be used for low level reconnaissance. See more »
Essentially a very good and long overdue concept for a film / miniseries / drama-doc, but struggling to cope with an obviously pitiful budget and a truly awful script.
Most of the cast did their best - but seemed to be on day-release from otherwise more exciting projects, some of them trying too hard to make something of their highly compressed roles and mangled text - the Dennis Wheatly character tottering on the edge of hammy camp.
Its a really strong concept, how British ( and later American ) tech-bods came up with countless concepts to fool, be muddle and confuse the Germans on a shoestring budget - from thousands of plywood aircraft to draw fire away from real aerodromes - to exploding rats and dummy parachutists, its examines the triumph of imagination and creativity over brute force, many of the ideas were original and intriguing - with plenty of humour and human interest, but it was handicapped by an obviously small budget and really small scale direction, in parts it came across as a dramatised educational program from the late '70's.
You never know - perhaps someone with deeper pockets will see this and realise that the foundation of a very good film is in here - after all -' someone' thought Enigma was a good idea, and as 'Downfall' has shown us, you can produce an astonishing quality war film based in the confines of a bunker - so why not one with the 'Back-room-boys'?
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