Allied

Fully cloaked undercover, watching every movement, scrutinizing each step, re/actions precisely measured to maximize discretion, on the road scripted codes liaised lessons, eager learner, coy discerner, modicums, romance, drills, an extroverted beauty chively strung singing along in chorus, friends in high places, versatile integration, his partner, his assigned wife, don't let emotions cloud judgments till it's time to gasp, to fire, to strike.

To love.

Precious freedoms, mission prerogatives.

Canadian Max Vatan (Brad Pitt) breaks with tradition and falls for Marianne Beauséjour (Marion Cotillard) in the field.

Less amorously aware than his new partner, the two make a marigold match.

Wed after accomplishing their objectives in Casablanca, they return to London to settle during World War II (Max is an intelligence officer who still actively strategizes while Marianne raises their daughter at home).

But there's a catch.

According to V-section, Marianne is a German spy, a potentiality Max can't face, having fully devoted himself to enabling their prosperity.

Bliss in crisis, Robert Zemeckis's Allied briskly examines conjugal fidelity, the rival in question a bellicose nation intent on grieving, the rewards of domestic security too high to blindly tow the line.

Torn between resistance and reconnaissance, upside down and inside out, the film passionately obscures Max's trusts, while keeping things strictly on the level.

Mythic misfortune presented in gallant 20th century plight, shorn trajectories and burnt down bulwarks critically commandeering catastrophe, appointments are met and duties kept in check, all the while clad in confidence, for remaining unsuspicious, for never having had a jealous mind.

Internal gridiron grind.

International intrigue, clutched all-weather.

Outstanding.

Somewhat, teary-eyed, was I.