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...film is a skillful editing job of footage shot chiefly by military photographers, both Allied and Axis. In selecting the material, MOT film editors looked at some 65 million feet of war film. About 80% of the pictures have been restricted, and never shown to the public. The amount of good footage available to illustrate each military operation has necessarily determined the shape of the film; in turn, the film has often gained in comprehensibility by giving shape to the shapelessness of war. The words of the book, where possible, have been used as commentary to the pictures...

Author: /time Magazine | Title: Radio: New Picture, May 9, 1949 | 5/9/1949 | See Source »

...result may be debated for months to come as art, as history, as journalism and as entertainment. But MOT has turned out what is unquestionably the best film thus far made for television...

Author: /time Magazine | Title: Radio: New Picture, May 9, 1949 | 5/9/1949 | See Source »

...MOT, which has been in business 15 years and now turns out news films for a worldwide audience of moviegoers, this was a major assignment. In the first place, this was Eisenhower's story, and his account had to be reproduced faithfully in pictures. Secondly, MOT found itself overwhelmed with riches. The U.S. Army, Navy, Air Force, and Coast Guard; the British War Office and Ministry of Information; the National Film Board of Canada and other hitherto inaccessible sources suddenly made 165,000,000 feet of restricted war-film available for the project. Fortunately, MOT had the staff...

Author: /time Magazine | Title: A Letter From The Publisher, Mar. 14, 1949 | 3/14/1949 | See Source »

...only similar undertaking was Lawrence Stallings' The First World War, which ran for seven reels and consumed about all the good photographic material available on World War I. MOT Producer Richard de Rochemont had a first-hand acquaintance with World War II as European manager of MOT - until the German Wehrmacht ran him out of Paris - and as a SHAEF correspondent during the battle for Europe. His associate producer, Arthur Tourtellot, had served his wartime hitch in the Coast Guard. Between them, with the aid of ex-U.S. Marine sergeant and MOT Scriptwriter Fred Feldkamp...

Author: /time Magazine | Title: A Letter From The Publisher, Mar. 14, 1949 | 3/14/1949 | See Source »

...mot de Cambronne . . . was not a "defiant vulgarism as a reply to a British demand for surrender...

Author: /time Magazine | Title: Letters, May 31, 1948 | 5/31/1948 | See Source »

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