Period films are always a joy to watch. Barring any creative liberties taken by movie studios, period films can be accurate depictions of the past as we knew them. Expertly made period dramas can be refreshing amidst the downpour of explosive blockbusters. More than good stories, period dramas can be creative history lessons. The question of a film in the genre can be answered in two ways: “Is it historic?” then “Is it any good?”
With an A-grade director in Robert Zemeckis, Allied furthers the reaches of the period drama genre in the right cinematographic and historic direction, but not necessarily a narrative one. On its face, the film carries an alluring premise perhaps made perfect by its highlight coupling of Brad Pitt and Marion Cotillard.
Set in delicate wartime 1940s, Allied takes place as Max Vatan (Pitt), a Canadian spy working in London, parachutes into Axis-occupied Morocco. There, he is quickly spirited into Casablanca (yes, that Casablanca) to undertake an espionage-assassination mission against the stationed German ambassador. He is assisted by a fellow spy, the French Marianne Beausejour (Cotillard), whom he eventually falls in love with.
From a cinematography perspective, this first act is a brilliant exposition in classic cinema. From charming set pieces like decorated Nazi offices to dusty Casablanca landscapes, Zemeckis portrays wartime Casablanca excellently just as his spiritual ancestors in cinema did before him. Dressed and styled in timely garb, Pitt’s and Cotillard’s classic beauty lends credence to the setting’s traditional ambiance. This act’s pacing can be slow at times, but its pregnant pauses serve only to elucidate the pair’s character developments.
As we are then led to the second act, it becomes clear that the first act is only an introduction to the plot’s tenser second act. After their mission where they inevitably fall in love, the two meet up again in London to get married, have a child, and live a quiet life peppered by the occasional mission. Their charming life begins to unravel as headquarter begin to introduce the possibility that Marianne may be a double agent. It’s up to Max to discover the truth and save their family from being charged with high treason.
As far as continuity goes, the meat and bones of the second act differs greatly from the first act’s slow but sincere plot developments. We are quickly thrust into a Hollywood-style chase for the truth. Sadly, this sacrifices the sincerity established before. Zemeckis tries to set up as much pathos as he can for the film’s surprising climax but fails to hit a crucial mark in the buildup: Max and Marianne’s marriage.
The second act focuses almost exclusively on Max’s internal struggle and truth seeking. As such, Marianne takes a step back in the background to take care of their daughter. In fact, the couple’s journey from marriage to family takes place in a few short minutes via a montage that lacks the same emotion that built up their relationship in the first place. For the few moments that we do see Marianne and Max interact as a couple, Max is mostly detached to fight his internal struggle. The problem is that we never established the contiguous emotion to empathize along with him for his family.
Allied has a riveting plot and a likewise engaging ending. If Zemeckis hadn’t lessened the pathos he carefully made in the first half, we would’ve had a masterpiece. Instead, we have a great history lesson on the dangers of war, but a story that misses its mark by just a few notches.
Allied opens on November 23rd in Philippine cinemas nationwide.
Photos courtesy of United International Pictures.
