ALLIED: Robert Zemeckis’ Generic WWII Thriller

World War II films seem to be popping up even more prominently as of late, from Anthropoid earlier this year, to Mel Gibson‘s Hacksaw Ridge, to Christopher Nolan‘s Dunkirk, which premieres next summer. They remain popular not only due to the multitude of stories that exist from that time period, but also because modern film-goers seem to be still mystified by the war, in a similar manner to how people used to glorify the old West during the height of Westerns.

With Allied, yet another volume has been added to the already overflowing pile of wartime films. Though with the talented Robert Zemeckis at the helm, it seldom showcases his trademark focused and proficient direction, which is therefore not enough to raise the film above its many aching flaws.

Original Story

Unlike many other World War II films, Allied is not based on any prior material, and is an original screenplay written by Steven Knight. The film takes place in 1942, when Max Vatan (Brad Pitt), a Canadian allied officer, takes an assignment in Casablanca as a hired assassin. While there, he is partnered with Marianne Beausejour (Marion Cotillard). Together the two pose as husband and wife, and are soon entrusted to join a party of high-ranking Germans, including the German ambassador, their target. While preparing for the mission, though, they grow close, and soon find that their feelings are more than just a part of the job they are required to do.

This initial act, though occasionally feeling forced and with not enough time to fully establish a connection between the two characters, did make me at least hopeful for the film to come. The idea of devoting yourself so intensely to something that it starts to become tangible, in this case a scripted romance, is one that has great potential both within the film’s narrative and in a metaphysical sense.

Brad Pitt and Marion Cotillard also share a believable onscreen chemistry, infusing a tension in these initial scenes that feels genuine, even if the film does tend to focus a bit too much on their sexual energy as opposed to feelings of companionship.

Marion Cotillard in particular stands out in the film, playing Marianne with a charming and alluring demeanor, with an occasional slight alteration in her facial expressions to show that she might be hiding something. In a way, she is reminiscent of a femme fatale character from film noir; sultry and manipulative, Cotillard makes the character all but impossible to fall for.

Brad Pitt, though, is less convincing in the role, and seems to be putting on a rather flat Humphrey Bogart impression, though he is too somber and monotoned to completely pull it off. But his character is still likable as our primary protagonist, at least until the film starts to fall apart (but more on that later).

Second Act and Unraveling

After the first act, the film does what so many movies feel the need to in order to revitalize their story – it jumps forward. Although “jump” isn’t even the right word – Allied leaps forward in such an abrupt manner that it nearly loses its footing. The film contains three time changes – first a few weeks, then a few months, then a year – with only a few minutes spent in each, before finally deciding to come to a rest. Now, Max and Marianne have been married for almost 2 years, are living in London, and have a 1-year-old daughter named Anna.

To suddenly thrust the narrative forward like this completely threw off the more balanced pace from earlier in the film. It would have been helpful to at least spend a short time reestablishing the two characters and their lives together at this point, but as it is, it takes awhile to adapt to these new surroundings. Instead of richly developed characters, we now have to fill in the gaps based solely upon the few minutes we are given.

At any rate, it is here that we discover the central basis for the film, as Max is told by his superiors that they are investigating his wife, suspecting that she could be a double agent. Though such an implication seems far-fetched given the place that Max and Marianne are at in their lives, there were still hints from earlier that could have alluded to such a possibility. After this initial discovery, though, the remainder of the film starts to unravel even further.

Influences and Themes

The closest film I can relate Allied to would be the 1942 classic Casablanca. Not only do both take place at least partly in the Moroccan city around World War II, but they also present the same central conflict of duty to one’s country versus individual happiness (think in particular of the ending to that film).

Where Allied differs, though, is also what makes the film most troubling. When Max hears the news about his wife’s potential double-crossing, he loses almost no time in stepping into action to discover the truth. In the course, he blatantly disregards the lives of others and seemingly has no remorse for the consequences of his actions. Though it’s expected that one would act irrationally in the course of love, Max acts in a way that is wildly unfitting in comparison to the professional way in which he had initially been presented.

Without even delving into the final reveal, it is clear the film’s overall takeaway is one-sided: pursuing one’s own agenda is more important than devotion to one’s country. The film is therefore on the opposite spectrum as a movie like Casablanca, which left me wondering just what exactly writer Steven Knight and Robert Zemeckis were trying to go for here.

A Robert Zemeckis Film

Though infrequent as a whole, Zemeckis‘s directional talent at least shines through during parts of Allied. The scenes that take place in Casablanca are particularly well-shot, right from the opening, which sees a juxtaposition of a reclusive Brad Pitt emerge from a quiet desert into a bumbling and active town center. Zemeckis‘s direction is very subdued for this first act, making for a rather tense buildup to the eventual sudden onslaught, in which both Max and Marianne fight for their lives after killing the German ambassador.

There are also some occasional visual cues that Zemeckis uses throughout the film, which aptly show the complicated relationship between Max and Marianne, in a manner that is much more convincing than the limited onscreen dialogue could convey. An example is when they often gaze at each other through mirrors without the other one knowing, which is expressive of the uncertainty as to the other person’s true motives.

Both in Casablanca and later on, in London, Zemeckis presents the inhabitants of both cities in a suitably lively fashion. Though one would expect large cities such as these to cower in fear during a time of war, instead they are seen even more in a spirit of camaraderie, as if people are doing whatever they can to escape the brutal reality of the world around them.

The costumes and production of the film in general are particularly well orchestrated, with lavish outfits and gorgeous shots of period sets – all transporting the viewer directly to Casablanca and London during the 1940s.

Conclusion

In the end, it’s hard to know exactly how to feel about Allied. Though with occasional hints of possibility at the start, the film becomes choppy and uneven during its remainder, suffering from abrupt time jumps and some confused character motives. Brad Pitt and especially Marion Cotillard do their best with the material, yet their initial chemistry is all but wasted by a script that barely develops them as a believable romantic couple.

Robert Zemeckis’ talent isn’t completely wasted in the film, yet it also doesn’t feel like one that is wholly his own. Last year’s The Walk, for example, at least gave him a chance to show off his visual flair and dynamic technical direction, yet here the chance to do so is limited, given the film’s relative lack of visual appeal outside of its costume and set design.

Allied unfortunately fails to capture either the mythos or the romantic allurement of World War II, especially compared to the multitude of wartime films that still bring people to the theater in droves. With such an overflow, Allied is likely to be drowned out amongst the noise.

What did you think of Allied? Are you a fan of modern World War II movies?

Allied is currently screening in U.S. and U.K. theaters. Find international release dates here.