War epic with John Wayne and Sean Connery 'is the best D-Day movie ever made'
The Longest Day, a 1962 war epic, vividly portrays the Normandy D-Day landings.
The film was directed by three individuals - Ken Annakin handled the British and French exteriors, Andrew Marton oversaw the American exteriors, and Bernhard Wicki was responsible for the German scenes. The Longest Day enjoyed immense commercial success, becoming the highest-grossing black-and-white film of its era.
Cornelius Ryan penned the screenplay, which was based on his own book, with additional contributions from writers Romain Gary, James Jones, Jack Seddon, and David Pursall.
The Longest Day boasts an impressive ensemble cast featuring the likes of John Wayne, Kenneth More, Robert Wagner, Richard Todd, Robert Mitchum, Richard Burton, Paul Anka, Steve Forrest, Sean Connery, Henry Fonda, Irina Demick, and George Segal, among others.
Several actors made cameo appearances in the film, and many had served in the military during the war, including Henry Fonda, Leo Genn, Eddie Albert, Kenneth More, Rod Steiger, and Richard Todd. Notably, Richard Todd was one of the first British officers to land in Normandy during Operation Overlord and took part in the assault on Pegasus Bridge, reports the Express.
To ensure the film accurately represented the events of the war, the production team consulted with numerous real-life D-Day veterans, including Allied and Axis participants. Upon release, The Longest Day garnered widespread acclaim from both critics and audiences.
The film earned five Academy Award nominations at the 35th Oscars, including Best Picture, and secured two wins - Best Cinematography (Black-and-White) and Best Special Effects.
Critics praised the film with one reviewer hailing it as "a solid and stunning war epic". Another said: "It is hard to think of a picture, aimed and constructed as this one was, doing any more or any better or leaving one feeling any more exposed to the horror of war than this one does."
In a separate review, the film was described as: "A far cry from the gore-drenched Saving Private Ryan, legendary producer Darryl F. Zanuck's heartfelt recreation of the D-Day landings is, in its own way, every bit as memorable."
One critic further praised it, saying: "It is, and will most likely always remain, the definitive D-Day picture."
Another fan said: "The Longest Day is the all-time top movie for D-Day..! ! Made in the 1960's and in black-n-white, it tops SPR as the go-to movie for historical accuracy.."
One audience review praised the film as a definitive war classic, saying: "This is an absolute classic War movie. Yes, it is long but tells about the events of D Day from all perspectives. Steller cast."
Another added: "The cast is immense and the movie is one of the greatest war movies ever made."
While a third said: "A great all star movie. While Saving Private Ryan has by far the best action scene of the landings (or maybe any battle scene), this old timer still reigns for scope and retelling the story of the Normandy Invasion."
The choice to present The Longest Day in black-and-white was particularly appreciated by one fan who said: "I thought it was amazing. The incredible detail and brilliant cameos. It was tragic seeing the loss of life and carnage on the beaches. I am glad it was in B/W."
The Longest Day can be rented on Amazon Prime Video.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Time Out
33 minutes ago
- Time Out
Guadalupe Servián and the art of living in the circus
Born and raised in Córdoba, she didn't grow up like other kids surrounded by toys, recess, snacks, TV shows, and cookies. Her childhood was unusual, surrounded by jugglers, clowns, and tightrope walkers. Guadalupe is a sixth-generation circus artist, great-great-granddaughter of the creator of the legendary Circo Servián, and an acrobat herself. Despite a hearing problem that has challenged her balance, she worked tirelessly to achieve what today is her greatest pride: a risky handstand act that allows her to defy her limitations and prove that, with patience and effort, anything is possible. This winter vacation 2025, Circo Servián will perform in Pilar, and Guadalupe, at 23 years old, under the magical big top she loves so much, dedicates herself to the art of dazzling the audience with her magnetic acrobatic performance. Get to know her! Tell us your family's story My family's story begins during World War II in Yugoslavia. In such harsh times, they started migrating to South America, passing through different countries, including Brazil, and finally arriving in Argentina. They came with almost nothing, fleeing the war, and began looking for ways to make a living. They started building wagons with wheels like those you see in movies and went out to the streets performing acrobatics and shows to attract attention and earn some money. Little by little, they built a tent, which at first was very small, almost like paper. With a lot of effort, they managed to grow it into what we have today. What was it like for you growing up in such a unique environment? For me, there is no other life but this one, because I was born into it. It has always been magical. Being able to do what I love, learn new things, meet people, and understand what each audience likes in every place. I love being nomadic, moving constantly, living each experience. I would choose this life a thousand times over. "I love being nomadic" When did you decide you wanted to be a circus artist? I decided when I was very little, I think I was about three years old. I remember watching my mom and dad perform in the ring and feeling immense happiness. That's when I knew I wanted to be there, doing that, wearing those stones, those costumes, that sparkle. My training also started very early. I had teachers who helped me step by step, teaching me how to train, stretch, and strengthen my body. I've always understood that with practice and patience, you can achieve anything: whether it's dance, floor acrobatics, trapeze, tightrope, or handstands. Everything takes time, and although it's demanding, I really enjoy it. I'm constantly training and I love it. You have a hearing problem that could affect your balance, yet you perform a very complex handstand act. What difficulties did you have to overcome? Yes, I have hearing problems, and the ear is actually the center of our balance. The middle ear can cause symptoms like dizziness, loss of balance, and nausea. But my mom never made me feel it was an obstacle. She always supported me, and since I really wanted to practice and improve, I never saw it as a limitation. I love doing handstands, which require a lot of balance. I believe it's a gift God gave me, and I'm making the most of it. It was very hard because, lacking natural balance, I had to work twice as hard or more. But when you really want something, there are no excuses. "I have hearing problems but I never saw it as a limitation" How do you prepare before each performance? I prepare one or two hours in advance. First makeup, getting nicely ready, then I start stretching, warming up, and moving my joints well. This is key to avoid injuries and to make everything flow more smoothly. After the show, we also stretch to avoid muscle stiffness. During the performance, I expend a lot of energy. I don't only do the handstand act, I also do acrobatics, jump, and participate in several scenes. That means constant movement. Because of this, we pay close attention to our diet: we eat healthy, with proteins, plenty of water, and energy. Our body is our tool, and we take care of it as such. Have you ever dreamed of doing something else? Yes, I thought about it. I love gymnastics, both rhythmic and artistic. I also like other sports like tennis and soccer. I think if I weren't in the circus, I would probably be doing something related to sports. Tell us about a risky situation you've experienced during a performance Many things have happened: bumps, falls… although we always take great care and prioritize safety. But once, during a show, I climbed into a hoop that is lifted by a motor. It was a very visual moment; I just had to go up and down, but that day the motor failed and I fell from nearly 3 meters high. I landed sitting on the floor — it was a very hard impact. I fractured my spine and hit my knees. Thank God it was a minor fracture, no serious consequences. I was very scared, especially about my spine, but I had good rehabilitation, the motor was fixed, and now I'm fine. That was the biggest scare, but in this profession, things like that can happen. In popular imagination, circus artists build their own family and live a nomadic life. Is that still true today? Yes, absolutely. Many people meet in the circus, fall in love, and decide to share this life. If both choose to accompany each other on every destination, that's ideal. That was the case with my parents and grandparents: they joined and traveled this path together. Then we are born, the children, and continue in this world that for us is the most normal thing. "My parents and grandparents joined and traveled this path together" What do you think are the differences between the old circus and today's circus? The old circus had a different aesthetic and dynamic. There was a presenter narrating everything with a microphone, animals were used, and it was less theatrical. Everything was slower and more classic. I love it anyway because I grew up with that. Over time, proposals like Cirque du Soleil appeared, bringing theater, dance, and a fusion with circus that is now common in many shows. Now circus acts are mixed with music, choreography, and scenography. Today, there are many more resources than before. At Servián's shows, you always try to leave a message beyond the performance. How do you approach those themes? We try to leave a clear message: take care of the planet, take care of our environment, which is our home. We show what we're doing wrong and call for reflection. It's a very important topic nowadays, with climate change and many other problems. We want the audience to take that message with them, not to let it go unnoticed. What will the audience find in this show? I think they will find all the emotions together. Each act conveys something different: there is strength, energy, slower and more poetic moments with contemporary dance. Everything blends with powerful circus scenes. There are also clowns, who are great, the 'globe of death' with motorcycles, trapeze artists, tightrope walkers — there's everything! People leave happy. You can see it on their faces, how amazed they are. It's a very complete and exciting show. "We make a very complete and exciting show" Let's take the chance to hear about your favorite places in Córdoba and get to know the city a little more A place to eat: Johnny Be Good A place to drink Fernet: I think most people from Córdoba will hate me because I don't like Fernet, but my grandfather loves it A park to drink mate: Parque Sarmiento A nightlife spot: La Vieja Usina to listen to music and dance A musician from Córdoba: I love Luck Ra A food that reminds you of childhood: polenta
Daily Mirror
an hour ago
- Daily Mirror
Tuna melts will be extra crunchy and taste even better with one simple swap
Chef and recipe developer Amy Sheppard shared an easy way to take your tuna melt to the next level - and it's all down to one simple swap A culinary whizz and recipe creator, Amy Sheppard, has left food enthusiasts drooling with a simple yet genius twist on the classic tuna melt that's just a supermarket trip away. Taking to TikTok, Amy revealed her game-changing secret: ditch the standard sliced loaf for garlic bread to add an irresistible crunch and flavour explosion to your toasted sandwich, reports the Express. Amy's innovative approach to the tuna toastie involves reaching for garlic bread instead of the usual suspects. She's taken the tuna melt to new heights, and here's how she did it. Amy explained: "So many of you made my Chilli Cheese Garlic Bread Toasties the other week, that I thought I'd share a tuna version. This is basically a cross between a crunch and a melt. All of the crunchiness of chopped veg and all the lovely gooeyness of a melt. "Either have them as a treaty lunch or serve them with a pile of chips for a really great dinner." Not only does Amy jazz up the sandwich with garlic bread, but she also concocts her own tuna mix, throwing in a colourful medley of red pepper, celery, and red onion for that satisfying crunch. When fans queried about swapping out mayo, Amy recommended sour cream as a delicious alternative. The clip showcasing Amy's creation amassed over 537,700 views, along with 11,900 likes and 158 comments. The budget-friendly and quick recipe has earned applause from fellow food lovers, with NewYorkfoodie commenting: "Make and deliver to me." Anna was equally impressed, saying: "Such a great idea. I could eat one of those right now." Cecilia couldn't contain her excitement, writing: "God my mouth is watering. I will be making these for sure," while Michelle was all set for her next meal: "Look sooooo good lunch sorted for tomorrow." Desi was struck by a moment of culinary revelation: "How have I never thought of this! I need to make." So, if you're keen to give your usual tuna melt an upgrade for lunch, here's how you can whip up Amy's recipe in your own kitchen. Tuna Melt Garlic Bread Toasties Ingredients 8 slices of frozen garlic bread Small handful red pepper, finely chopped Small handful celery, finely chopped Very small handful red onion, finely chopped 2 x tins of tuna, drained 100g mayonnaise 100g grated cheddar cheese Method Firstly, crank up the grill to a medium heat and line a baking tray with greaseproof paper. Pop four slices of frozen garlic bread onto the tray, buttered side facing the heat. Grill them until they're crisp and golden, then flip them over and put them to one side. In a bowl, toss together the red pepper, celery, and red onion. Mix in the tuna and mayonnaise, and season with a pinch of salt and pepper before stirring it well. Spread the tuna mayo mix over the toasted garlic bread slices, right up to the edges – don't worry if there's some left over. Sprinkle a generous amount of grated cheese on top, saving a bit for later. Cap it off with another four slices of garlic bread, butter side up, and a final sprinkle of cheese. Slide the tray back under the grill and let it cook gently until the top slices of garlic bread turn golden brown, the edges are crispy, and the cheese has gloriously melted.
Scotsman
an hour ago
- Scotsman
Theatre reviews: The 39 Steps
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... The 39 Steps, Pitlochry Festival Theatre ★★★ The Last Laugh, Theatre Royal ★★★★ In a world where credible futures seem in increasingly short supply, it sometimes seems as if cultural nostalgia is becoming our only jam. Rock music survivors from the 20th century stage ever-larger stadium tours, tribute musicals whisk us back to the 1960s or 70s; and here, in Pitlochry and Glasgow this week, are two stage shows which have their own special relationship with our cultural past. Alexander Service and Chris Coxon in The 39 Steps | Tommy Ga-Ken Wan Patrick Barlow's brisk two-hour stage adaptation of The 39 Steps - first seen in London two decades ago - is probably best understood not as a version of John Buchan's 1915 novel, but as an affectionate send-up of Alfred Hitchcock's hugely successful 1935 film, designed to extract maximum laughs from the absurdities of extreme fringe theatre, as a cast of only four try to tell a story featuring at least 20 characters, with much help from bad hats, and worse facial hair. Advertisement Hide Ad Advertisement Hide Ad To judge by Barlow's programme note for this year's Pitlochry production, he also intended his adaptation to add a little heart to what began as a brusquely masculine tale of Richard Hannay, a British imperial adventurer at a loose end, who finds himself in a desperate race to expose a deadly network of foreign spies before they catch up with him. And in Ben Occhipinti's Pitlochry production of Barlow's version - which follows and surpasses Hitchcock in introducing some female love interest to the story - Alexander Service as a handsome Hannay, and Blythe Jandoo in stylish Thirties form as all the women with whom he falls in love, both bring a real touch of romance to their performances. The problem, though, is that almost all other aspects of the plot are reduced to such Monty Python-style absurdity - as supporting actors Chris Coxon and Stephanie Cremona conjure up a bewildering series of dastardly villains and spoof Scottish peasants - that it becomes very difficult to attach any real meaning to the story. Liz Cooke's set is charming, with its little train circling the front of the stage to the upbeat strains of Vivian Ellis's Coronation Scot. Advertisement Hide Ad Advertisement Hide Ad To my eyes, though, most of the comedy looks laboured and un-funny, in a post-1980s fringe theatre style that has had its day; and despite the best efforts of the actors - who received a well-deserved cheer from the audience as they took their bows - the show seems to me to lack momentum, and to be both less meaningful, and less seriously funny, than Barlow originally intended. The Last Laugh | Contributed There's a richer and more direct vein of comedy, by contrast, in writer and director Paul Henry's 80-minute play The Last Laugh, now on a UK-wide tour after its 2024 Edinburgh Fringe success. The show features a dressing-room conversation among three of Britain's most revered 20th century comedy stars; the great natural comedians Tommy Cooper and Eric Morecambe, and Bob Monkhouse, comedian and game-show host, who spent most of his life studying the structure of comedy. The Last Laugh follows other fine plays about comedy - notably Tom McGrath's Laurel & Hardy - in dealing with the strange, poignant relationship between comedy and death. Both Cooper and Morecambe died in mid-career, in the spring of 1984; and Hendy uses this fact to place all three stars in what turns out to be a dressing room on the edge of eternity. For most of its length, though, the show is a funny and fascinating exploration of comedy itself, as delivered by a generation of absolute masters. Damian Williams as Tommy, Bob Golding as Eric, and Simon Cartwright as Bob all make a brilliant job of evoking the special style and comic energy of the men they play; and they also bring an immense quiet skill to their handling of the play's huge range of emotional registers, from the daftly hilarious to the poignant, and finally to the tragic. Advertisement Hide Ad Advertisement Hide Ad
