In 1942, a Canadian intelligence officer in North Africa encounters a female French Resistance fighter on a deadly mission behind enemy lines. When they reunite in London, their relationship is tested by the pressures of war.
Retreating from life after a tragedy, a man questions the universe by writing to Love, Time and Death. Receiving unexpected answers, he begins to see how these things interlock and how even loss can reveal moments of meaning and beauty.
In the middle of World War II, in turbulent 1942, the fearless Wing Commander, Max Vatan, lands on the desert dunes of Morocco to meet with the skilful Parisian member of the French Resistance, Marianne Beauséjour. After a suicide mission in the heart of Casablanca, Max and Marianne will flee to England with plans on making a family; however, heavy clouds of distrust and suspicion will burden their relationship, when Max receives a shocking call from the Secret Service Division. In disbelief, with a terrible task in his hands and crushed under a devastating dilemma, Max must find the courage to seek for answers in the perilous streets of a bombarded London, regardless of the outcome. In the end, amid duty and love, who shall live and who shall die?Written by
Max starts his late 1930s or early 1940s car with an ignition key starter. A key and either a dash button or floor pedal would have been needed before 1949. See more »
What are you doing?
Testing you. The way you tested me. I know you're armed with a weapon, Mr. Vatan, I'm just checking your safety catches and range.
There, we had our first fight. Now we're okay then, yes?
Marianne, we both know people fucked each other, and they fucked up, but now they're fucking dead.
Well, that's a lot of fucks.
Button yourself back up.
[buttoning her blouse]
Actually, Max, mistakes make people in these situations isn't fucking. It's a feeling.
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As the opening title of "Allied" fades to black, the three middle letters reading "lie" remain on-screen for just a moment longer. Blink and you'll miss it. See more »
This is the kind of film I go in to with a very forgiving attitude. Historical dramas are among my top choices and it was fantastic watching two of my all-time favorite stars trying to play multi-layered characters and doing pretty good. Then Zemeckis decided to add coke heads and other modern Hollywood projections in scenes of WW2 Britain. Not only was the language, behavior and attitude not historically accurate, it was so distracting and unnecessary in a period piece. Beautiful cinematography and set pieces and a good story all ruined by a need to desecrate old, traditional behavior and values. And by the way, people in the 40's rarely said F but here it was in every sentence. Sad and disappointing.
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