REVIEW: Allied

26 11 2016

When asked how she has kept up a ruse among Nazis in Morocco, Marion Cotillard’s Resistance agent Marianne Beauséjour offers one trick of the trade: keep the emotions real. Precision is important – and she has plenty – but the feeling matters most.

In “Allied,” director Robert Zemeckis might not be trying anything nearly as daring as the espionage mission undertaken by Marianne and her Canadian companion, Brad Pitt’s Max Vatan, yet he heeds that core dictum all the same. His Old Hollywood throwback is a classically styled delight that succeeds largely on the dynamism of the two stars. Their transition from partners in crime to partners in life is gradual, then sudden, and it works because Zemeckis creates an environment where a series of sparks can believably ignite a blaze.

The golden-age romance turns on a dime in the film’s second half when British intelligence officers inform Max of their belief that Marianne is, in fact, passing classified information back to the Nazis. At this point, “Allied” shifts registers into an old-fashioned thriller; Zemeckis masterfully deploys his craftsmanship here. Small sonic details become searing motifs that comment on the tension ratcheting up between the couple. Brisk cuts sweep us from one scene into the next, echoing the whiplash Max must feel. In both themes and content, the film feels like it shares a close kinship with Hitchcock’s early American work in the 1940s.
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