By Anat Golan (USA)
The Few Allies Allied Could Have Used
I have nothing but respect to much of the work done by Mr. Brad Pitt and Mr. Robert Zamekis, which could account to why I was so disappointed that they put their good names to a product such as Allied. Between the two of them, they have ample amount of talent and knowledge of film making, and yet for whatever reason, they chose to ignore basic cardinal rules of movie development. Being based on a true story, some leniency can be given for the taking of artistic freedom, but there is little excuse for forgetting that –
IT STARTS WITH THE SCRIPT
Allied is dripping with drama, along with issues not too far from that of Mr. and Mrs. Smith: Who can you trust? How well do you know the person you share a bed and a life with? But while Mr. and Mrs. Smith could get away with concentrating on the action (based on the protagonists’ profession), Allied should have attacked the subject from the dramatic point of view, instead of ending as yet another banal and uninspiring action movie. It comes down to the script, where Allied can’t seem to decide if it wants to be a dramatic thriller/suspense or an action flick highlighting the protagonist’s determination in proving his wife’s innocence.
One ally the script could have used is fully developed subplots. True the story is based on real events, which makes subplots a little trickier, but, as with the inability to lock on one main genre (drama), with support of sub-genres (thriller/suspense), subplots are mentioned, but not followed on. Yes, the point of the sister living with her girlfriend is clear, but it does not serve to reflect or contrast the premise. Was the sister’s girlfriend also investigated and vetted like the protagonist’s wife? Was she suspected on any unauthorized activities because of her sexual preference? Was her position affected in any way due to it? One way to know a subplot serves no function is to take it out and see if the main storyline is hurt in any way. When the answer is no, as is the case with Allied, the script is in troubles.
CHARACTERS, CONFLICTS, AND (LACK OF) DIALOGUE CAN BE ALLIES TOO
The story is so determent to present an action figure as the protagonist, it forgets the main issue is the internal drama of one’s belief in his secure life with his wife and baby being shattered to pieces. The drama of knowing that if the accusations are true he’d need to kill her himself, get lost in the action scenes portraying the protagonist attempts to uncover the truth himself. The desire to showcase a protagonist who will go to any length to prove his belief in his wife’s innocence is right and everyone else wrong, results in neglecting all other characters. No supporting cast, including the wife, has any depth to them, which is the result of a movie that shifts from the drama to the action/adventure genre.
Can one trust the woman he lays next to night after night; the one who bore his child, but who may also consorts with the same enemies responsible to so much death and destruction of your country? There is certainly no shortage of inner conflicts in this dramatic tale, especially when enhanced by the idea that the protagonist would need to kill his own wife himself should she be exposed as a traitor, can bring together both inner and external conflicts together. However, the script seems to insist on subduing most of the internal conflicts in lieu of the need to show the protagonist risking his life (and others) to get the information himself. There are some nice little twists like the blindness of one of the characters who could identify the wife, but on the other hand, there are conflicts that are thrown in, without any afterthought like the protagonist’s gained knowledge, that his selfish and irresponsible actions cost the life of an innocent young soldier.
Dialogue is a powerful tool in dramas, but lack of it could speak volumes. One scene showing the protagonist contemplating struggling his wife with his bare hands, would make a much bigger impact that him telling his sister about the suspicions against his wife, which the viewer was already aware of. And then, of course, much like Up in the Air, The Big Year and many other American movies, Allied must perform an overkill by adding an unnecessary piece of dialogue after the climactic moment and the resolution of the movie. Had it added pertinent knowledge the viewer was unable to infer from the preceding action and dialogue sequences, it would have been forgiven, but that is not the case here.
THE SILVER LINING
Not all is lost though. There are places where both Mr. Pitt and Mr. Zamekis show they know that cinema is a visual medium, and that a picture is worth a thousand words. In one scene the protagonist is seen sitting in the kitchen as his wife comes down from their bedroom. By that point the protagonist is tired and spent, physically and emotionally. He knows deep inside his wife’s guilt, but still harbors a shred of hope of her innocence. He wants to trust her, but can’t until he makes her take one last test. And all that is done without words, but by appropriate clothing, make up, camera movement and facial expression.
It is easy to be a Monday Night quarterback, but making a movie is not like a game of football. Footage is viewed both instantly and during preview screenings, thus the problems with the movie should have jumped up immediately. It is most certain that both Mr. Pitt and Mr. Zamekis will go on to create meaningful and influential films in the years to come. One can only hope they will remember to starts with a good script, which they should entrust with people who would tell them the weaknesses of a story before the first day of shooting.
Rating: 2/5
BEST QUOTES
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After his energetic, highly entertaining (not to mention vertigo-inducing) The Walk was unfairly ignored by both audiences and the Academy (how it wasn’t nominated for best visual effects is still a mystery), director Robert Zemeckis returns quickly to the big screen with Allied, a rousingly good-natured tribute to the classic films of the 1940’s.
Opening amidst the kind of expansive landscape that wouldn’t be out of place in a David Lean epic, we are introduced to Canadian intelligence officer Max Vatan (Brad Pitt), who is strategically dropped into the Moroccan desert just outside of Casablanca (the year is 1942). Making his way to the mythical city, Max is quickly partnered with his fellow collaborator, French resistance fighter Marianne Beausejour (Marion Cotillard), who has already ingratiated herself amongst the local elite community. Pretending to be husband and wife, Max and Marianne are required to obtain entry to an exclusive function, where their mission will be to assassinate the Nazi-affiliated German Ambassador who is attending the event.
During this dangerous mission in an exotic location, these agents begin to show genuine feelings for one another, and once the plan has been carried out, Max takes Marianne back to England with him. The two marry and start a family, enjoying a real sense of happiness even though the world seems to be falling apart around them.
When Max is ordered to appear before an extremely dour, oppressively secretive official (Simon McBurney), he receives information that will turn their lives upside down.
Allied is the type of film that has to be enjoyed in the spirit in which it has been made. Overly cynical moviegoers will dismiss everything they see and hear as complete twaddle, a forced tribute that never rings true. However, those who appreciate what writer Steven Knight and director Robert Zemeckis are doing, will embrace a richly enjoyable, atmospherically old-fashioned tale that encapsulates that classic aura quite nicely.
Zemeckis, who has combined old-school sensibilities and cutting-edge technology to memorable effect in films like the Back to the Future series, Who Framed Roger Rabbit, and A Christmas Carol, enthusiastically brings Steven Knight’s intelligently knowing screenplay, which successfully uses various blueprints laid down in a number of romantic war films crafted during the 1940’s, to life. There is extensive use of CGI, but Zemeckis utilises all this technical wizardry to tell a compelling story, and one admires his restraint, not wanting to drown the film in excessive computer effects. An elaborately staged love scene does regrettably veer into Titanic territory.
Though tipping its hat to this kind of sub-genre in general, with Casablanca of course being the most apparent inspiration, there were other specific movies it did remind me of. The first is Joan of Paris (1942), starring Michele Morgan and Paul Henried, and directed by Robert Stevenson, who would go on to direct the Disney classic Mary Poppins and The Love Bug. The second is Frieda (1947), directed by Basil Deardon (Dead of Night, The League of Gentlemen, Victim), and headlined by David Farrar, Glynis Johns, and Mai Zetterling. The last is The Story of Vernon and Irene Castle (1939), starring the incomparable Ginger Rogers and Fred Astaire. All these films wonderfully combine the elements of romance and war, where the shadow of world conflict could tragically end a loving relationship at any moment. If you haven’t seen any of these films, I highly recommend them.
Knight has delivered some strong writing, namely with the films Dirty Pretty Things (2002), David Cronenberg’s Eastern Promises (2007), and Locke (2013), the last of which he also directed. This talented scribe however did falter recently with a trio of lightweight entries; The Hundred-Foot Journey, Seventh Son, and Burnt. Thankfully here he is allowed to indulge in both character and locale, and his affection for classic film is evident. In fact, he devotes so much time to the evolution of Max and Marianne’s relationship in Casablanca, that some audiences may begin to wonder when the main plot will actually kick in (the advertising is admittedly misleading).
Pitt and Cotillard emit definite star power. It seemed prophetic when Pitt starred alongside Robert Redford in Spy Game (2001), as this charismatic performer is continuing to resemble the iconic actor in so many ways. Conveying the kind of big screen star presence that is disappearing from contemporary cinema, Pitt acquits himself purposefully in the role of Max. Oscar winner Cotillard is also perfectly cast, fully committing to the material and showing that chemistry does matter.
Other actors of note include Jared Harris, as Max’s grumpy but dryly funny superior, and McBurney as the ominous official (in fact, you almost swear he’s re-enacting the same role he played in Tinker Tailor Soldier Spy). The one anomaly is Matthew Goode, who despite a fine performance, is allotted a notably brief screen time, giving one the sense that his crucial role has been somewhat truncated.
As is always the case with Zemeckis, the film is brilliantly crafted, with excellent work from his regular cinematographer Don Burgess, and veteran composer Alan Silvistri, who has scored all of Zemeckis’ features since Romancing The Stone in 1984. Special praise must also go to editors Mick Audsley and Jeremiah O’Driscoll, production designer Gary Freeman (Maleficent, Everest), and costume designer Joanna Johnston (Indiana Jones And The Last Crusade, Unbreakable, Lincoln).
Though not in the same league as Casablanca, Allied is a deftly handled homage, respectful and affectionate towards the type of film that entranced audiences an eternity ago.
Rating: 4/5
The year is 1942 in the midst of World War II and this story takes us to Casablanca, Morocco. We are introduced to Max Vatan (Brad Pitt) who is a Canadian officer/spy that travels to meet his “wife”, Marianne Beauséjour (Marion Cotillard), a French Resistance officer. The objective is simple – convince everyone that you are a happily married couple and assassinate a German ambassador.
Robert Zemeckis, who has directed such notables like Cast Away, Forrest Gump and Flight, is at the helm and backed by the screenplay of Steven Knight (Peaky Blinders). We first get acquainted with Max and Marianne as he is dropped off at a fancy restaurant with specific instructions from his driver as where to locate his wife. Once Max spots Marianne with all of her friends – she gushes about anything and everything she has ever informed them about her wonderful husband who has been away as a phosphate engineer. Once the brief introductions and small talk are made, the two are off to discuss the real reason why they are there in enemy territory. From here on out they spend the next few days playing the part of the ‘perfect couple’ while trying to maintain their real relationship – business. Many of the first scenes that Max and Marianne make their best impressions is also where Zemeckis and Cinematographer Don Burgess are at their best as well. There are the technical aspects of when and where the camera moves to that really puts the audience front and center of the characters’ conversations and their facial expressions. With such an elegant and beautiful setting in Casablanca, there is also a real effort to display each aspect that surrounds these characters.
The day has finally come where Max and Marianne finally execute their long awaited mission – literally. With the help of a car bombing diversion to startle everyone inside the ambassador’s party, the final touches of the plan are in place with many casualties in between. After a barrage of bullets and bloodshed, our main characters are scot-free. They make their escape with no one behind in sight and with a few moments to process everything that has just unraveled, Max asks Marianne to come to London with him and be his wife. This poses the question to audience – do we really believe that these characters truly care about each other and found something together in a wake of murder and an already fake marriage? With all of their propaganda to pose as this happy couple and the obvious sexual attraction to each other, there is a case to be made that these characters are just meant to fall for each other – even in this line of work. Fast forward three weeks and the two are hitched back in London where everything is champagne and smiles. A little bit further down the road Marianne is pregnant and gives birth to a baby girl Anna, smack dab in the middle of an air raid. This scene takes place in a crumbling hospital where Max and a nurse are wheeling her out into the streets while it looks like hell breaks loose above. It is such an over the top sequence that you almost have to appreciate the audacity of it – but that’s Hollywood and why we love movies!
After a full year of happiness and health, things take a turn for the worse for Max. Marianne is being accused of being a German spy that has been sending top secret intel to the Germans. If all is true, then Marianne is to be executed for treason – if not, then all is forgotten. Max is left to ponder at whether he is being tested for a possible new job or that the woman he helplessly fell in love with is indeed a fraud. As the story takes the audience along with Max’s journey of discovering the truth – Zemeckis and Knight try to do their best to keep us paced with a little bit of action, drama and tension. Some seem to work better than others, like sequences of the aerial attacks, gun fire and the uneasiness we feel with the dialogue between Max and Marianne in key situations. What is constantly present is the question – who really is Marianne? The ending sequence is a terrific example of pacing and execution that will have you on the edge of your seat until the final credits roll.
Is Allied Casablanca? No. Is Allied Mr. & Mrs. Smith? No. Allied is able to find a balance between the drama, the romance, the war and it understands what it is. It doesn’t try to be much more than that. Besides a handful of over dramatic sequences, the highlights outweigh the flaws and leave an enjoyable, slow burning, romantic thriller.
Rating: 3/5