Robert Zemeckis has a vastly diverse slate of motion pictures to his credit, but it\u2019s not unfair to associate him with a certain technological fixation on stunt-gizmo cinema. In nearly 40 years of directing, he has implanted cartoons in the real world (\u201cWho Framed Roger Rabbit\u201d), inserted actors into newsreels (\u201cForrest Gump\u201d), become the rubbery bard of motion capture (\u201cThe Polar Express,\u201d \u201cBeowulf,\u201d \u201cA Christmas Carol\u201d), and used death-defying effects to place audiences on a wire strung between the towers of the World Trade Center (\u201cThe Walk\u201d). Once in a while, though, Zemeckis makes a film that reminds you what a terrific director he can be when he works the old-fashioned way, staging unadorned human drama without the safety net of cutting-edge visual flimflam.<\/span><\/p>\n \u201cAllied,\u201d starring Brad Pitt as a Canadian intelligence officer and Marion Cotillard as a French Resistance fighter who team up for a mission during World War II (and, of course, fall in love), is a high-style romantic espionage thriller that feels like it could have been made in the \u201940s (at least, if Ingrid Bergman had been allowed to say the word \u201cf\u2014-\u201c). It\u2019s a movie full of Nazis and chandeliers and prop planes and hidden passion. That may strike some viewers as a slightly stodgy turnoff \u2014 a fetishization of the past \u2014 but Zemeckis, working from a script by Steven Knight (\u201cDirty Pretty Things,\u201d the amusing and underrated \u201cBurnt\u201d), is alive to what\u2019s great about old movies: the supple, nearly invisible craft that allows scenes to throb with emotional suspense. \u201cAllied\u201d isn\u2019t based on a true story; it\u2019s a flagrantly movie-ish concoction. But like Steven Spielberg\u2019s \u201cBridge of Spies,\u201d it\u2019s been made with a so-old-it\u2019s-new classicism that is executed with enough flair to lure audiences in.<\/span><\/p>\n How old-fashioned is \u201cAllied\u201d? It\u2019s so old-fashioned that the film\u2019s entire first section is set in Casablanca \u2014 and yes, it\u2019s a Casablanca reminiscent of that \u201cCasablanca,\u201d a place of \u201cexotic\u201d intrigue and danger that looks, at times, like it\u2019s flaunting the fact that it\u2019s a movie set.<\/span><\/p>\n In the opening scene, Max (Pitt) parachutes into the dimpled orange dunes of the Moroccan desert, then wanders into the shadowy white-walled maze of a city. Once there, he has to pretend to be the husband of Marianne (Cotillard), who has been hanging out in nightclubs, getting cozy with the chi-chi collaborationist associates of the Vichy government. The lighting is luxe, and so are the clothes \u2014 dresses that drape with goddessy perfection, neckties that look like works of art. When Max first shows up in front of Marianne\u2019s friends, the two cuddle like the most intimate of lovebirds even though they\u2019ve never met: a good set-up. Back at their apartment, she tells him her credo: \u201cI keep the emotions real. That\u2019s why it works.\u201d She also opens the top buttons of her blouse to test him. If he lunges for her, it\u2019s a sign that he lacks the control necessary to execute the mission.<\/span><\/p>\n This is all, of course, the film\u2019s elaborate way to generate some steam heat, and it works. Pitt and Cotillard connect, because there\u2019s a matching toughness to their sensuality. Cotillard acts with a leonine cunning, just the kind of thing that can disarm a seen-it-all conquistador like Pitt. Marianne teases Max, who\u2019s from Quebec, about his lousy Parisian accent (it\u2019s not just teasing, since that could be enough to get them killed), but the audience has a different reaction: Watching Brad Pitt speak French is a little like seeing a dog stand on its hind legs \u2014 more impressive than whether he does it well is the fact that he does it at all.<\/span><\/p>\n Max and Marianne belong together because they\u2019re movie-star beautiful, and because these spies share a debonair awareness of what\u2019s happening in any room. Their assignment involves wrangling an invitation to a party thrown by the German ambassador, and the scene where they nail down the invite is full of succulent deception. The party is even better. Zemeckis keeps us in the dark about what, exactly, the mission is, and then it\u2019s revealed: a fiery catharsis that seals their love. How could it not? The couple that does cool explosive wartime Bondian stuff together stays together.<\/span><\/p>\n Zemeckis, utilizing the inner glow of Don Burgess\u2019 cinematography, stages this episode with a smoothly framed precision \u2014 a fusion of action and feeling \u2014 that catches you up. Yet it\u2019s all a big pedestal for the film\u2019s second half, which is set in a London suburb, where Max and Marianne, now married with a child, are doing the closest thing they can to living a cozy domestic together life after the wind-down of the Blitz.<\/span><\/p>\n It would be a major spoiler to reveal what happens next, so let\u2019s just say this: It\u2019s possible that Marianne is not who Max thought she was. It\u2019s up to Max to ferret out the truth, and he does it with the doggedness, passion, and unruffled trickery of someone whose very existence depends on knowing the answer. At times, the situation is broadly reminiscent of an earlier Pitt film, \u201cMr. & Mrs. Smith,\u201d but that jokey Brangelina thriller was top-heavy with meta-gossip subtext; that\u2019s what sold the movie. Pitt\u2019s current tabloid role as a disgruntled divorcing dad may not do much to help the fortunes of \u201cAllied,\u201d but the way that he and Cotillard dance warily around each other creates a far more suggestive vision of marriage as a kind of daily spy zone.<\/span><\/p>\n \u201cAllied\u201d is tense and absorbing, yet the film\u2019s climactic act somehow falls short. Zemeckis and company don\u2019t make any obvious missteps, but the movie, in trying to reach out and tug on our heartstrings, goes soft regarding what the Marianne we\u2019re presented with would choose to do. (It could, and should, have gone darker.) You believe that she loves Max, but there\u2019s another side to her devotion that washes away far too easily. The result is that \u201cAllied\u201d inspires most of the old-movie reactions it\u2019s going for except one: It never makes you swoon.<\/span><\/p>\n Film Review: Brad Pitt and Marion Cotillard in ‘Allied’<\/span> Production<\/span> Director: Robert Zemeckis. Screenplay: Steven Knight. Camera (color, widescreen): Don Burgess. Editors: Mick Audsley, Jeremiah O\u2019Driscoll.<\/span> Source:\u00a0http:\/\/variety.com\/2016\/film\/reviews\/allied-review-brad-pitt-marion-cotillard-1201918954\/<\/span><\/p>\n
\nReviewed at Regal E-Walk, New York City, November 10, 2016. MPAA Rating: R. Running time: 124 MIN.<\/span><\/p>\n
\nA Paramount Pictures release of a GK Films, ImageMovers production. Producers: Graham King, Steve Starkey, Robert Zemeckis. Executive producers: Steven Knight, Patrick McCormick, Denis O\u2019Sullivan, Jack Rapke.<\/span>
\nCrew<\/span><\/p>\n
\nWith<\/span>
\nBrad Pitt, Marion Cotillard, Jared Harris, Simon McBurney, Lizzy Caplan, Daniel Betts, Marion Bailey, Matthew Goode.<\/span><\/p>\n