Allied

Allied, the latest film from director Robert Zemeckis, owes a great debt to those old school epic romances of the golden age of Hollywood. You can see in Allied’s core DNA inspiration taken from classics like Casablanca and Gone With The Wind, to name but a few. It’s that mix of romance, drama and high stakes action. That juxtaposition of the most intimate of romantic relationships told against the backdrop of world defining events.

Beginning in 1942, Canadian intelligence officer Max Vatan (Brad Pitt) rendezvouses in North Africa with undercover French resistance fighter Marianne Beausejour (Marion Cotillard) for a mission behind enemy lines. As their cover of husband and wife blossoms into something real, they reunite in a Blitz ravaged London where the suspicion, paranoia and pressures of war follow them into the suburbs.

What is perhaps the most interesting thing about Allied is that it goes where those films it so clearly takes inspiration from does not. It is quite easy to imagine that the film’s first act in Casablanca, where the undercover couple plans their deadly mission and fall in love, could last an entire film. Yet Zemeckis and screenwriter Stephen Knight are far more interested in what comes next, in exploring a relationship, and later a marriage, forged in wartime where husband and wife both lie for a living. The leafy suburbs of London could not be farther from the barren dessert and rolling sand dunes the film opens on.

However, as a director known as an innovator of visual-effects, this change-up at times poses a challenge. For a film that attempts a more intimate portrayal of these characters and their larger than life world, Zemeckis occasionally gets carried away by an excessive use of visual effects and scale, introducing a lack of subtlety into proceedings that is at odds with the wonderful performances of his leads and supporting cast. These visually spectacular moments don’t quite inspire awe as they intend to but rather make you cringe.

In these instances it would be better for Zemeckis to go smaller as he proves capable of doing in a couple of scenes close to the films end that are quite outstanding, particularly in his use of perspective and their sustained tension. The film could also benefit from a tighter edit as the film at times drags once the action moves to London and with one particular subplot, involving Lizzy Caplan as Vatan’s sister, feeling under explored and underutilised.

The rest of the cast, including Jared Harris and Daniel Betts as Vatan’s comrades-in-arms, Matthew Goode as a scarred former pilot and Simon McBurney as a shadowy spy master all do terrific work in supporting roles. Jared Harris in particular gives a fine performance as a British Officer forced to do his duty in light of circumstances that test his and Vatan’s close friendship.

But the film is truly a showcase for Brad Pitt and Marion Cotillard as both leads give commanding and touching performances. Cotillard’s natural air of mystery and aloofness help create a character whose motivations you can never quite pin down while Pitt does fine work as an efficient and seasoned soldier tapping into a well of emotions previously kept hidden.

So for those who are fans of a simpler and more classical Hollywood epic, filled with equal parts heartbreak and impressive spectacle then Allied is a fine time at the cinema, bolstered by strong performances across the board and Zemeckis’ trademark technical flair.

Allied
Released in cinemas on Monday December 26 (Boxing Day)