Naming the film:
Good titles help clarify the complex and define the promise. these are 'hard-bite' phrases that attract attention and promise strong sensations.

Suggestions include,

- The Cockleshell Challenge: 2012
- Cockleshell Raid: `70 years on
- A Courageous Raid: The Challenge
- The Frankton Four: Cockleshell Heroes 2012

I looked at the film of 1955 and the movie had 3 working titles:
'Survivors Two',
'Canoe Commandos'
and 'The Survivors'.

Logline
This mean literally one sentance that encapsulates the storyline and the style in which it will be told. The discipline ensures the filmmaker has a clear handle on what they are on about.

Cockleshell Raid: 70 years on: 1942's heroic mission retold, 70 years on

The Frankton Four: Cockleshell Heroes 2012: A modern reimagining of The Marine Commandos world changing mission

A Courageous Raid: The Challenge: A new generation tackles the impossible.

Canoe Commandos: Chronicling 1942's heroic Cockleshell raid in 2012.

The Commisioning brief for BBC Two Documentaries

Our goal on BBC Two is to be recognised as the home of documentaries. This means that diversity and range of ideas, voices and tone are prerequisite across the slate. And we want our documentary output to feel distinctive from other channels.

Documentaries should make BBC Two feel relevant and modern - populating the channel with compelling real lives, interests and concerns.

To manage our commissions, we split the slate into entertaining and immersive ideas that explore better ways to live your life on one side, and modern provocative, challenging and contemporary subjects on the other.

In particular, we're looking to strengthen our reputation for award winning observational docs about modern life. These one offs and series should simultaneously inspire and challenge viewers to reappraise their view on modern life and society.

The Voice:

Most landmark series are built around a given presenter, who will normally be responsible for the orginal script (Paddy Ashdown The Courageous Raid). It then falls to the producer and/or director to establish how that will be visualised, how much will be voiced in vision, how much in commentary, weather this will call for a secondary commentary voice and/or readers for written extracts, and how many complimentary speakers will be called on in the course of the programme.
Too many can make the pace frenetic and programme superficial: to few can make it slow and monotonous. How strong is your presenters voice, especially in voiceover? Can theyu manage long pieces to camera, enabling developing shots, or will their take have to be cut around, line for line?

Examples of similar documentaries:
SAS: Embassy Siege
It used live witnesses and abundant archive material.