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The Monuments Men

Reviews
by Leonard Maltin
February 7, 2014 12:00 AM
2 Comments
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Photo by Claudette Barius - Courtesy of Columbia Pictures Industries, Inc./Twentieth Century Fox Film Corporation

The Monuments Men is old-fashioned in the fullest sense of that term. In dramatizing the remarkable true-life initiative to save precious works of art during the waning days of World War II in Europe, George Clooney (who directed, co-produced, co-wrote, and stars in the film) and Grant Heslov (his writing and producing partner) have taken a sharp turn from such provocative  films as Syriana and Good Night, and Good Luck. by consciously evoking Hollywood movies of the past. There is no cynicism here; the leading characters are genuinely, unabashedly heroic. (In the opening scene, President Roosevelt is even shown, respectfully, from behind, his face obscured, just as it was in Yankee Doodle Dandy.)

Clooney and Heslov based their screenplay on a historical book by Robert M. Edsel and Bret Witter, but have used dramatic license in creating many of their characters, an unlikely troop of overnight soldiers drawn from the ranks of art critics, dealers and curators played by Matt Damon, Cate Blanchett (sporting an impeccable French accent), John Goodman, Bill Murray, Bob Balaban, Hugh Bonneville, and Jean Dujardin. They bicker and tease but they never lose sight of their mission, whether it’s rescuing a Michelangelo-carved Madonna housed in a Belgian church or locating a stash of paintings already looted by Hitler’s troops. Every one of them is willing to lay down his life rather than see the civilized world lose so much of its priceless heritage.

The film is episodic; a series of vignettes—by turns dramatic, comedic, and poignant. We never get to know the characters terribly well; they’re walking, talking symbols of humanity, fighting on the right side of this war. If the roles weren’t filled by such talented performers it would be hard to invest in the picture. Fortunately, Clooney and company have enough charisma to fuel several films, and they do their best to make up for the superficiality of the material.

Photo by Claudette Barius - Courtesy of Columbia Pictures Industries, Inc./Twentieth Century Fox Film Corporation

It would be easy to nitpick The Monuments Men, but I must say I enjoyed it. It’s rare to find a movie that isn’t ironic or aloof, especially in its overarching goal, to pay tribute to an unpopular enterprise that paid off for posterity. Good intentions can’t save a bad movie, but they score points for one like this that might have been made while World War II was still underway. Some viewers will embrace this while others will reject it outright, I suspect; I tend to be forgiving in this case. If nothing else, it’s certainly a novelty among the mainstream movies of 2014.

Incidentally, the brilliant composer Alexandre Desplat not only provides an appropriate score (complete with a march theme) but appears on camera as a French farmer. He may well have a future as a character actor if he ever tires of writing great movie music.

         

         

 

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2 Comments

  • Josh | February 12, 2014 5:16 AMReply

    The real key to Monuments Men is that the movie is a series of visual vignettes, highly rich if accepted almost like memories. The movie is not intended to be a blockbuster or even a highly plotted story, but while talking about European art, it reminds us of the art of making moving pictures during earlier decades. It reminds us of the nostalgia of an era where there was reasonably possibility that sometimes people were doing something important and not merely acting out a cynical role in life. A large part of the movie is about a group of men undoing some of the poison of the Nazis, even if they understood their limits.

  • Norm | February 10, 2014 1:46 PMReply

    Looks like payday for Actors Equity. But maybe there is enough to give the film a chance, other than the old standby of beating up everyones favorite bad guys, the Nazi's...

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