The best part about ALLIED (2016), a love story and thriller that takes place during World War II, is that it hearkens back to classic movies like CASABLANCA (1942) and Hitchcock’s NOTORIOUS (1946). The worst part is that in spite of the nostalgia it evokes, it fails to rise to the levels which made those 1940s classics so memorable.
That being said, ALLIED is a solid film that is much better than the lack of hype surrounding it would lead you to believe.
ALLIED opens in 1940 Casablanca, where we meet Max Vatan (Brad Pitt) a British intelligence officer on a mission to assassinate a key Nazi figure. He’s working with Marianne Beausejour (Marion Cotillard) a French Resistance fighter, and the two are posing as husband and wife as they work to infiltrate the inner circles of the Nazi regime in Casablanca. It’s a bold assassination plot, and their chances of survival are slim.
But survive they do, and as they make their escape from Morocco, Max asks Marianne to come back to London with him and marry him, which she does. The two of them, having risked so much to pull off their ruse in Casablanca, have clearly fallen in love.
The two begin a life in World War II London, even having a baby together, and life is as good as it can be for people being bombed regularly by the Nazis. But things take a sinsiter turn when Max’s superior officer Frank Heslop (Jared Harris) informs him that British Intelligence suspects Marianne of being a Nazi spy, and that if proven true, that Max will have to kill her.
The final third of the film follows Max’s efforts to learn the truth about his wife- is she a spy or isn’t she, and if she is, then what will he do about it?
I really enjoyed ALLIED, although the film falls short of being something special.
I especially enjoyed the beginning of this movie. It takes its time setting the stage for the assassination plot by Max and Marianne. Lesser films would have begun with the assassination and jumped right into the marriage between Max and Marianne. By inviting us into the stress and anxieties behind their ruse, the film really allows its audience to get to know Max and Marianne and to see just how it is that they fall in love. It makes the second part of the film all the more painful because we see these two go through a lot and grow very close.
The scenes during this part of the movie involving Nazis are also very suspenseful and well done. The opening third of the movie is compelling and tense.
The movie also looks great, fully capturing the period, which one would expect from a movie directed by Robert Zemeckis. And it’s interesting that Zemeckis directed this movie, because you know he’s the guy behind such visual flicks as the BACK TO THE FUTURE movies, WHO FRAMED ROGER RABBIT? (1988), FOREST GUMP (1994), and THE POLAR EXPRESS (2004), but there really isn’t anything all that visual about ALLIED other than its period piece window dressings. I mean, the film looks wonderful, but knowing that Zemeckis directed this one, I expected even more in terms of cinematic flair. That’s not meant to be a knock on Zemeckis but simply an observation that knowing his resume I thought his work here was not all that reflective of his signature style.
The screenplay by Steven Night is as solid as the rest of the movie. As I said, it does a nice job in the first act of allowing us to be a part of Max’s and Marianne’s love story. The second act keeps things moving as the action switches to wartime London, and of course the final act turns things up a notch as the audience is eager to follow Max on his investigation, to help him learn the truth about his wife— is she a spy or isn’t she?
I thought the one place where the movie didn’t excel was its ending. Like the rest of the movie, it’s satisfactory, but it’s nothing special. I had hoped that a phenomenal ending would put this movie over the top, but that was not the case. It’s certainly not a bad ending by any means, but CASABLANCA it ain’t.
Night also wrote the screenplay for THE HUNDRED-FOOT JOURNEY (2014), a wonderful film that was one of my favorite movies of 2014 yet seemed to fly under everyone else’s radar.
If Brad Pitt seems quite at home wearing a World War II military uniform, that’s because he’s already done so in Quentin Tarantino’s INGLOURIOUS BASTERDS (2009) and more recently in FURY (2014). As Max Vatan, Pitt is just OK here. I’ve seen him deliver far better performances— in MONEYBALL (2011), KILLING THEM SOFTLY (2012), and THE BIG SHORT (2015), to name just a few recent ones— than he gives here in ALLIED, where he seemed quiet and reserved throughout. For a man fearing that his wife is a Nazis spy, he never really shows the amount of angst one would expect from a man in his position. It also doesn’t help that Pitt seems to wear the same blank expression on his face throughout the movie. Sure, it’s the look of a man who is a covert intelligence officer, who is trained not to let others see his true feelings, so in terms of the plot of the movie, it’s fine, but in terms of letting an audience know what he’s thinking, it doesn’t fly.
The best performance in the movie belongs to Oscar-winning actress Marion Cotillard. She nails Marianne’s persona. In the opening act of the film, Marianne tells Max that she is successful at fooling people because her emotions are true and real. She really does like the people she is infiltrating, and so her emotions are genuine and difficult to see through. Which makes things all the more complicated for Max later when he’s trying to decipher if she is a Nazi spy or not. Cotillard captures this duplicity brilliantly. Because of her performance, the audience really believes that she is in love with Max, but like Max, we’re not so sure if these genuine feelings are legit or simply part of her job as a spy.
Cotillard is also terribly sexy in this role, and I enoyed Cotillard here better than in other Hollywood movies I’ve seen her in, movies like INCEPTION (2010) and THE DARK KNIGHT RISES (2012).
Jared Harris, an excellent actor who has a ton of credits, and who I have particularLy enjoyed in such movies as SHERLOCK HOLMES: A GAME OF SHADOWS (2011) where he played Professor Moriarty, and the underrated Hammer Film THE QUIET ONES (2014), as well as the TV series MAD MEN (2009-2012) where he played Lane Pryce, is good here in a supporting role as Max’s superior, Frank Heslop.
For some reason, ALLIED has received almost no hype. I suspect, based on things that I’ve heard and read, that the powers that be had little faith in this movie. It’s actually a pretty good movie, especially if you enjoy World War II period pieces.
Is it as good as those classics I mentioned at the outset of this review? No, but then again, not many films are. But it’s still a solid movie from beginning to end, worth the price of a movie ticket, and good for an enjoyable two hours at the movies.
Darn it….and so much promise, too. Still, I might be a sucker and see it for the period color…looks awesome in that respect!