Blood and Glory: The Civil War in Color

Blood and Glory: The Civil War in Color revisits the defining conflict by turning old battlefield images into living color. The film travels from the first shots at Fort Sumter to the war's end at Appomattox, tracing campaigns, daily life, and the technologies that shaped combat. Kevin Burns directs a documentary built on archival footage that is colorized and restored to feel immediate, inviting viewers to see uniforms, weaponry, and terrain with new detail. Tom Jennings is credited as creator, guiding the project with a museum-like respect for sources. Robert Clotworthy serves as narrator, weaving statistics, maps, and letters into a cohesive narrative without giving away any endings. The result is an accessible, immersive retelling for curious viewers seeking context.

Released in 2015, Blood and Glory is directed by Kevin Burns with Tom Jennings credited as creator. The documentary relies on colorized archival Civil War footage and period material to present a vivid, documentary history rather than a dramatized reenactment, grounded in careful sourcing.

Box office data for this documentary is not widely reported and there are no publicly available, notable grosses to cite. It appears mainly in educational and television contexts rather than broad theatrical release or distribution figures.

Cultural impact centers on its approach to history through colorized footage, which can heighten immediacy and empathy for viewers. The technique invites discussion about how technology reshapes memory, representation, and access to the Civil War for contemporary audiences while anchoring the narrative in solid sources rather than sentiment and interpretation.

Reception highlights the film's clear narration and the way color adds a visceral layer to familiar events, while acknowledging the limits of colorizing 19th century imagery. The central themes revolve around memory, the human cost of war, and the challenges of presenting a complex historical chapter to broad audiences overall.