THE MONUMENTS MEN – The Review

Once again World War II provides Hollywood with another tale of bravery and sacrifice that was somewhat overlooked in the shadow of the great battles (like D-Day) and the dropping of the atomic bomb. A couple of years ago the story of the Tuskegee airmen got the full blockbuster treatment with RED TAILS. There have also been many stories concerning the efforts to save the lives of those targeted for extinction by Nazi Germany such as last year’s THE BOOK THIEF. Now George Clooney brings us the true tale of the special forces group charged with rescuing…art. Yes, paintings and sculptures, not people. Seems that Hitler went on quite the art-acquiring binge. Many felt that this pursuit to protect these piece was frivolous. But these curators and historians believed that these works were the culture if not the soul of their native lands. That’s why they proudly dubbed themselves THE MONUMENTS MEN.

As the film opens we see a group of priests taking down and wrapping up several painting in an effort to transport them away from the approaching Axis troops. Meanwhile in Paris, museum curator Claire Simone (Cate Blanchett) begrudgingly catalogs art treasures for the occupying German officers. But someone in the states is aware of these events. Frank Stokes (Clooney) conducts a slide show for President Roosevelt detailing Hitler’s plans to steal (or destroy) art from all its occupied countries. Stokes suggest forming a team to track down and return these pieces is approved by FDR and  quickly the art historian contacts and enlists other like-minded scholars and curators (Bill Murray, Matt Damon, John Goodman, Bob Balaban, Hugh Bonneville, and Jean Dujardin). After a brief stint of basic training the men split up in order to pursue leads as to the storage places of the stolen art with James Granger (Damon) sent to Paris where he enlists a distrusting Simone (she’s jailed as a collaborator after the Nazis flee the city) for help. As the war begins to wind down the team re-assembles when a memo from Hitler is leaked. In the event of his death, capture, or surrender, all the art is to be destroyed. The Monuments Men race against the clock (and another allied country that wants the pieces for themselves) to save and return Europe’s greatest cultural treasures.

Clooney proves to be a terrific leader behind the camera as well as in front playing the leader, or if you will, the Lee Marvin guiding the not-so DIRTY DOZEN (or for you comic book geeks, Sgt. Fury to these middle-aged high-cultured commandos). He keeps his cool  inspiring his team while knowing that their task is daunting. This doesn’t prevent him from being moved by the beauty of the rescued items or from turning up the heat on a captured officer in one of the film’s best scenes. Damon is full of enthusiasm as he treks through France, mangling their language in his wake (in a funny reoccurring bit, the natives sternly suggest they speak English). And once again, the actor has a charming rapport with his leading lady, the formidable Blanchett. She brings a quiet strength to Simone, who must appear meek before her country’s invaders while keeping hidden records that would certainly put her in a hangman’s noose. After the liberation she is convinced that this American will also whisk away France’s treasures until trust is slowly established and her heart finally begins to soften. Several of the actors are paired up for different missions for great effect. The best team may be Murray and Balaban. Murray turns down the snarky attitude, but still enjoys needling the diminutive Balaban like an older brother. Balaban’s character actually seems to relish the chance to get out of stuffy theatres, and fervently hopes he’ll get to take a shot at ole’ Adolph. But for all the barbs, these en have a real affection for each other as is shown in a touching scene at Christmas-time when Murray gets a special gift from the states. The other team is the jovial Goodman and the gregarious Dujardin. The husky Goodman makes for an unusual sight at basic training (“You they weren’t shooting blanks?!”), but gets right in the thick of action with the charming Frenchman (imagine Chevalier at the frontlines). This film proves that their great chemistry in THE ARTIST was no fluke. Bonneville brings a more serious edge as the teammate who flies solo, perhaps trying to redeem himself from a disgraceful episode from his own combat past. We never find out the details, but his sadness speaks volumes.

The film does invoke memories of the classic “men on a mission” films made during Hollywood’s Golden Age. The real well-known people involved (generals, presidents, even Hitler) are shown in long shots, from behind or in the shadows (ala’ FDR in YANKEE DOODLE DANDY) and composer Alexandre Desplat gives the action a rousing march of a theme (reminding one of Alan Silvestri’s CAPTAIN AMERICA: THE FIRST AVENGER work). MEN’s main problems are the film’s pace which lags a bit until the “Nero memo” appears (and the other Allied force leaps into the fray) and a major debate that’s never really fully resolved about whether art rescue should cost a lives. Audiences used to the raucous irreverence of INGLOURIOUS BASTERDS may be put off the sincere tone of MEN. And the Damon/ Blanchett subplot has a weak conclusion. But there’s good uses of European locales and Clooney knows when to crank up the suspense (there’s danger lurking down every road and these “mature” soldiers may not be prepared). Be warned that they go through countless cartons of cigarettes, but it’s historically correct for the pre-warning-label time period. This flick isn’t quite up to DIRTY DOZEN or THE GREAT ESCAPE World War II thrills, but this cast seems to be having a great time (and often it’s infectious), so if you’re in the mood for taking a trip through an almost unknown area of the “big one” then you hop in the jeep (mind the wrapped paintings) and ride along with THE MONUMENTS MEN.

4 Out of 5