fictional adventure films such as The Guns of Navarone (1961), The Train (1964), and Where Eagles Dare (1968). These used the war as a backdrop for spectacular action. Darryl F. Zanuck produced the 178 minute documentary drama The Longest Day (1962), based on the first day of the D-Day landings, achieving commercial success and Oscars. It was followed by large-scale but thoughtful films like Andrei Tarkovsky's Ivan's Childhood (1962), and quasi-documentary all-star epics filmed in Europe such as Battle of the Bulge (1965), Battle of Britain (1969), The Battle of Neretva (1969), Midway (1976), and A Bridge Too Far (1977). In Lawrence Suid's view, The Longest Day "served as the model for all subsequent combat spectaculars". However, its cost also made it the last of the traditional war films, while the controversy around the help given by the U.S. Army and Zanuck's "disregard for Pentagon relations" changed the way that Hollywood and the Army collaborated. Zanuck, by then an executive at 20th Century Fox, set up an American–Japanese co-production for Richard Fleischer's Tora! Tora! Tora! (1970) to depict what "really happened on December 7, 1941" in the surprise attack on Pearl Harbor. The film, panned by Roger Ebert and The New York Times, was a major success in Japan. Its realistic-looking attack footage was reused in later films such as Midway (1976), The Final Countdown (1980), and Australia (2008). The story was revisited in Pearl Harbor (2001), described by The New York Times as a "noisy, expensive and very long new blockbuster", with the comment that "for all its epic pretensions (as if epic were a matter of running time, tumescent music and earnest voice-over pronouncements), the movie works best as a bang-and-boom action picture". Steven Spielberg's Saving Private Ryan (1998) uses hand-held camera, sound design, staging, and increased audio-visual detail to defamiliarise viewers accustomed to conventional combat films, so as to create what film historian Stuart Bender calls "reported realism", whether or not the portrayal is genuinely more realistic. Jeanine Basinger notes that critics experienced it as "groundbreaking and anti-generic", with, in James Wolcott's words, a "desire to bury the cornball, recruiting poster legend of John Wayne: to get it right this time"; and that combat films have always been "grounded in the need to help an audience understand and accept war". Its success revived interest in World War II films. Others tried to portray the reality of the