Allied
Directed by: Robert Zemeckis.
Written by: Steven Knight.
Starring: Brad Pitt (Max Vatan), Marion
Cotillard (Marianne Beausejour), Jared Harris (Frank Heslop), Daniel Betts (George
Kavanagh), Simon McBurney (S.O.E. Official), Marion Bailey (Mrs. Sinclair), Lizzy
Caplan (Bridget Vatan), Anton Lesser (Emmanuel Lombard), Matthew Goode (Guy
Sangster), Josh Dylan (Capt Adam Hunter), August Diehl (Hobar), Charlotte Hope (Louise),
Sally Messham (Margaret), Thierry Frémont (Paul Delamare).
Robert
Zemeckis’ Allied is a wonderful homage to the type of WWII films Hollywood
produced during WWII. It is old fashioned entertainment that mixes action with
romance with intrigue, and offers enough twists and turns to keep you guessing
right up until the end. It stars two ridiculously good looking movie stars,
doing the movie star thing to perfection. It is essentially a popcorn movie for
adults who are tired of superheroes, and complain that they don’t make’em like
they used to. In the case of Allied, they do.
In
the film, Brad Pitt stars as Max Vatan – a Canadian officer in the RAF, who
parachutes into the desert in the opening scene, before making his way to
Casablanca. It’s there where he meets Marianne Beausejour – a French spy, who
has gained the trust of the Germans running Casablanca. Max is posing as her
husband, and they have 10 days to plan and carry out some sort of mission.
Because the two are ridiculously attractive, they end having sex with each
other – in the backseat of a car, in a sandstorm no less – and then, of course,
falling in love, despite them both protesting that it would be stupid of them
to do so. Their mission complete, the story flashes forward a year, where the
pair live in wedded bliss, with their infant daughter, in England. He’s still
an intelligence officer – but he’s riding a desk now. She’s traded her life of
intrigue, for domestic life. They he’s called into the office of V-Section, who
informs Max that they think Marianne is really a German spy. Not only that, but
they need him to help them prove it – by leaving false information for her to
find. If it turns up in the communications they are intercepting, they’ll know
she’s guilty – and Max will be expected to execute her himself. In the
meantime, he’s to do nothing, and act normal.
Allied
doesn’t try to hide its influences – it fully embraces them. Casablanca is the
obvious one of course, but there’s a lot else that people will recognize if
they watch a lot of old movies – a little Hitchcock, a little Fritz Lang, etc.
There’s more violence here than in those films of course, more sex, and more
swearing – but for the most part, Allied is the type of film they could have
made back in the day. The screenplay by Steven Knight (Dirty Pretty Things,
Eastern Promises, Locke) keeps you guessing from the beginning to the end. The
direction by Robert Zemeckis is wonderful – brisk and exciting. He’s spent more
time this century trying to advance filmmaking from a technological standpoint
through animation (The Polar Express, Beowulf, A Christmas Carol) or special
effects (The Walk) – but this film, like Flight from a few years ago, is more
proof than when he wants to, he can deliver good, old school, mainstream
entertainment.
The
reason the film works is the performances by the two stars. The movie is
perfect example of why Pitt is one of the biggest stars in the world – because
he’s excellent in roles like this that requires him to be suave, charming and
sexy in the first half, then mounting anger in the second, capped off with
tears. It’s a full blown movie star role, and right now, few if any can do that
better than Pitt. Cotillard is even better as she’s got a more complex role of
course – we in the audience are required to fall for her in the first half, and
then go back and forth on her motives in the second. She has to sell both
possibilities – that she’s guilty, and hiding, or that she is completely
oblivious – and do so without giving the game away. She does it wonderfully.
I’m
not going to argue that Allied is a particularly deep piece of entertainment –
nor that it’s original in any real way. It isn’t – it a straight up, old school
homage to spy thrillers of the 1940s, but done with such style and flair that
you hardly care. There is room for the more paranoid, down to earth spy stories
of say John Le Carre – and the grand romanticism of Allied in the world. Once
in the while, you want the latter.
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