This movie feels really old fashioned and stilted. Usually a Robert Zemekis film is dynamic and the performances are energetic. The two quite attractive stars are mostly just being attractive and it frequently feels like they are play acting instead of acting acting. I am having a hard time putting my finger on it, but this film feels like a misfire to me. Maybe it would have been more intriguing if the premise of the film were not given up in the trailers, and instead we were allowed to find the drama on our own. Instead, I felt like I was watching for clues and waiting for a tell as the story played ourt.

So may shortcuts in story are necessary to keep a film going, but there are really a lot of steps missing in the opening of the film. Brad Pitt puts on his Paul Henreid white suit and traipses around Casablanca looking for the letters of transit. No wait, that’s a different and much better film. Instead he acts surly toward his contacts and disregards his own personal rules when operating behind enemy lines. The most attractive woman in the country is his implanted contact, and together they plot an act of terror that in war time counts as espionage activity. It requires a brutal disregard of emotions, except of all the gin joints in all the towns in all the world, she walked into his. Whoops, slipped again. In truth, nothing will bring characters with no common background together quicker than participating in an assassination.

The contrivances in the first part of the film that are designed to sell Pitt and Marion Cotillard as a couple are cute but don’t really make sense since her husband really is supposed to be a stranger to the city. Their romantic clutch in the car in the desert reminded me so much of that moment when she pulled the gun on him and demanded the letters of transit for her husband, damn, I keep slipping. The next thing you know they escape French Morocco and he awaits her arrival in Paris, I mean London.


A montage of events come by in a blur, including the birth of their child in the midst of a blitz that sees her delivering on the street while all around are being bombed. It is perhaps the second corniest moment in the film, and we are expected to accept it without much preparation or set up, it just happens. When the turn that was revealed from the very first trailer arrives, we get a sequence of events that is too cliched to believe. Pitt disobeys orders and conducts his own investigation. Peter Lorre shows up at a party at their house and begs for Pitt to hide him, no, sorry again, a guy who mysteriously sells jewellery to lonely housewives during the war, appears along with every horny couple in London looking for a place to shag. Pitt chases down leads in a reckless manner, including his own expedition into Nazi occupied France where Captain Renault lies for him to the German High Command. No, that’s not right, a local French policeman sells the resistance out to the Nazis and a battle occurs where our hero single handily defeats the Germans, before he flies back to England on a plane he commandeered from the Royal Air Force and managed to get to the Continent and back on without stirring any anti-aircraft fire.

True love triumphs in the end as the situation is resolved. I have done the best that I can to avoid spoilers but I will say that Boogie and Claude Raines do not walk off into a beautiful friendship. Instead another pair walks off into the future with the aura of love hanging over them. Maybe I make it sound like I did not like this film. I liked it well enough but not well enough to suggest that anyone else bother to see it. I frequently have low standards when it comes to romantic-WWII movies and desert intrigue. My guess is most of you do not.

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