The extraordinary true story of Oliver Woodward. It’s 1916 and Woodward must tear himself from his new young love to go to the mud and carnage of the Western Front. Deep beneath the German lines. Woodward and his secret platoon of Australian tunnelers fight to defend a leaking, labyrinthine tunnel system packed with enough high explosives to change the course of the War.
In 1945, the Marines attack twelve thousand Japaneses protecting the twenty square kilometers of the sacred Iwo Jima island in a very violent battle. When they reach the Mount Suribachi and six soldiers raise their flag on the top, the picture becomes a symbol in a post Great Depression America. The government brings the three survivors to America to raise funds for war, bringing hope to desolate people, and making the three men heroes of the war. However, the traumatized trio has difficulty dealing with the image built by their superiors, sharing the heroism with their mates.
Howard W. Campbell, Jr., an American expatriate playwright, Nazi radio propagandist, and Allied spy, writes his memoirs during his pre-trial confinement in 1961 Haifa and learns that people are what they pretend to be.
In 1918 in World War I, in the Meuse-Argonne Sector in France, the former New York lawyer and Major Charles White Whittlesey is assigned by Gen. Robert Alexander to a massive suicidal attack against the German forces in the Argonne Forest with his five-hundred-man battalion. However, the forces supposed to be giving support through the flanks retreat and the communications with the headquarter of the 77th American Division are cut. Major Wittlesey holds his position with his men, mostly Irish, Polish, Italian and Jewish immigrants from New York, surrounded by the German army. Without food, water, ammunition and medical supplies, only two hundred men survive after five days of siege.
This is only the second Audie Murphy movie set in WWII after his autobiographical “To Hell and Back.” Here Murphy steps out of his usual kid-Western role to play a civilian working for the Navy helping supply guerilla insurgents in the Philippines. His sole motive is not politics nor bravery, but to find his bride from whom he was separated during the Japanese invasion two years before.
By 1812, Napoleon’s forces controlled much of Europe. Russia, one of the few countries still unconquered, prepares to face Napoleon’s troops together with Austria. Among the Russian soldiers are Count Nicholas Rostov and Prince Andrei Bolkonsky. Count Pierre Bezukhov, a friend of Andrei’s and self-styled intellectual who is not interested in fighting. Pierre’s life changes when his father dies, leaving him a vast inheritance. He is attracted to Natasha Rostov, Nicholas’s sister, but she is too young, so he gives in to baser desires and marries the shallow, manipulative Princess Helene. The marriage ends when Pierre discovers his wife’s true nature. Andrei is captured and later released by the French, and returns home only to watch his wife die in childbirth. Months later, Pierre and Andrei meet again. Andrei sees Natasha and falls in love, but his father will only permit the marriage if they postpone it for one year until Natasha turns 17. While Andrei is away on a military mission, Natasha is drawn to Anatole Kuragin, a womanizer. Pierre saves Natasha by telling her of Anatole’s past before she can elope with him. Napoleon invades Russia. Pierre visits Andrei on the eve of the battle, and observes the battle that follows. Traumatized by the carnage, he vows to kill Napoleon himself.
People tell stories. In Toronto, an art historian lectures on Arshile Gorky (1904?-1948), an Armenian painter who lived through the genocide in Turkey in 1915. A director invites the historian to help him include Gorky’s story in a film about the genocide and Turkish assault on the town of Van. The historian’s family is under stress: her son is in love with his step-sister, who blames the historian for the death of her father. The daughter wants to revisit her father’s death and change that story. An aging customs agent tells his son about his long interview with the historian’s son, who has returned from Turkey with canisters of film. Parents and children. All the stories connect. Written by Filmmaker Edward Sorayan is making a non-documentary movie recounting the 1915 Armenian genocide by the Turks. This movie will be controversial if only because of the denial by the Turkish government that the genocide even exists. Regardless, Sorayan plans on using what he considers real life events and people as the basis for the movie. One character added late into the screenplay is Armenian painter Arshile Gorky. The filmmakers hire an art historian named Ani, an expert on Gorky’s life, as a consultant for the film. Ani is currently having problems in her own family as her stepdaughter Celia accuses her of being the direct cause in the death of Celia’s father/Ani’s second husband. Celia even resorts to public outbursts to guilt Ani to tell what Celia believes to be the truth about the death. This public disagreement places Ani’s son, Raffi, in an awkward position as he is Celia’s lover. As filming occurs and the story of the Armenian genocide is told, Raffi travels to the former Armenia – now Turkey – to discover truths about his cultural past and his family’s more immediate past. Upon his return from Turkey, Raffi has problems reentering the country, which leads to Raffi recounting much of his time in Turkey and exactly what is in the film reel canisters to the questioning customs agent named David, who has his own indirect connection to the movie. Written by Huggo A film within a film, this is a contemporary story of the making of a historical epic about the Armenian genocide claims between 1915 and 1918. The story line follows how making the film transforms the life of an 18-year-old man hired as a driver on the production. The Armenian genocide claims are not accepted by the Turkish side. Turkey calls Armenians to prove their claims by scientific historical documents.