Movie Review: Allied

In Allied, two spies conduct a hot-and-heavy operation in Casablanca before settling down to marriage and succumbing to mistrust. Sounds about right.

The buzz preceding the release of Allied was that the relationship between stars Brad Pitt, as Canadian intelligence officer Max Vatan, and Marion Cotillard, as French Resistance fighter Marianne Beausejour, was so electrifying, it directly instigated the split between Pitt and Angelina Jolie.

(In fairness, there was precedent, though that doesn’t quite justify the lip-smacking of the promotional machine that quickly snuck out a new trailer when news broke of the separation.)

Do they demonstrate considerable chemistry together in Robert Zemeckis’ romantic thriller? Sure. That’s precisely why you hire movie stars. They come with that indefatigable charisma that allows them to be mixed-and-matched with other beautiful people. It’s Allied’s sole reason for existence: to generate sparks in a heretofore unseen combination.

The first act, set in French Morocco during World War II, sees Max and Marianne posing as husband and wife for a week, before attempting to assassinate a Nazi ambassador (and anyone else who interrupts). The lingering threat of death—and the stickiness of the heat—sends their simmering sexual tension to boiling point. Following their orgy of murder, Max invites Marianne to live with him in London. There are worse times to pop the question, I suppose; like, during an orgy of murder.

(BTW, if you didn’t think Hollywood was becoming more brazen in the way it plunders its past for content, consider this: In the past two years, we’ve seen two spy thrillers set in Casablanca. There’s no law keeping filmmakers from using that most famous of Moroccan locales as a backdrop to their costumed chicanery, of course. Just remember, directors: It’ll always be a race to second place.)

The rest of Allied follows Max, Marianne and their one-year-old daughter as they live the dream of domesticity in Hampstead, despite the constant air raids targeting nearby London. Max’s peace of mind, however, is disrupted by orders from his commanders (Jared Harris, Simon McBurney) to investigate Marianne, who’s suspected of being a German spy, still sending intel to her handlers.

In many ways, the structure of Steven Knight’s screenplay serves as a comment on relationships and how they curdle over time; another way in which reality intrudes on Allied’s escapist delights.

Pitt spends much of Allied neutered, in a sense, as he attempts to uncover the truth behind Marianne’s back. He gets to wear nice outfits and throw grenades at Nazis with precision, yet without the sparkling Cotillard by his side as a partner in crime—and no food to disarmingly shovel into his mouth—he’s sullen company. This is not using Pitt, the movie star, to his full potential.

Otherwise, Allied is a handsomely composed and satisfying jaunt. Zemeckis doesn’t get to test out his technological wizardry much, though in recent years, they’ve almost been a distraction, to the detriment of his films. (The centrepiece sequences of Flight and The Walk are career highlights, but those won’t be remembered as cohesively enjoyable features.) Instead, he turns his attention to period detail—impressive—and brutal action sequences—thrilling—to entertaining ends.

The ending doesn’t quite fulfil the promise of Knight’s irresistible premise, nor the disintegrating-marriage parable he seems to be setting up. Maybe that’s for the best. Given what we know about the players and their personal travails, any hint of escapism will come as pleasant relief.

3.5/5

In cinemas Boxing Day. Rated M for mature themes, violence, sex, coarse language, nudity and drug use.

Photo: Paramount