The question has been out there even before anyone has seen the film: Is ďThe Monuments Men,Ē a film, based on a book, based on a real story, actually telling us the truth?
According to the film, its heroes were art experts from the U.S. and England and France who, posing as Allied soldiers, went to Germany in the middle- and late-stages of WWII to find works of art that were plundered by the Nazis and to save works of art that might otherwise have been destroyed by Allied forces. But according to military and fine arts historians, they actually were military officers, not experts posing as them. I havenít read the book.
But címon, itís a movie; itís supposed to inform and entertain, and thereís always going to be some bending of the truth when a fact-based story makes it to the screen. George Clooney, who stars in, directed, and co-wrote the film, freely admits that some of the names were changed, and some of the characters were invented. But the basics of the real story are definitely here.
In this version, we meet art historian Frank Stokes (Clooney) in 1943, as heís making a passionate presentation to President Roosevelt about the loss of culture going on all over Europe.
By the next year, Stokes has assembled a team of men that included a museum director, an architect, an impresario and others involved in the arts. The plan was to protect whatís left (buildings and monuments) and find whatís missing (paintings and statues and, specifically, the Ghent Altarpiece, which the Nazis had stolen).
Clooney long ago proved his ability to carry a film as an actor, but turns this into an ensemble piece where no one character is more important that another. So even though Clooney plays the guy in charge, we also get Bill Murray and Bob Balaban comically bickering with each other, John Goodman being his usually blustery self, Matt Damon ó working in France, away from the rest of the group ó pulling off a running gag about butchering the French language, Hugh Bonneville and Jean Dujardin adding some continental flair, and Cate Blanchett, as a secretive museum assistant, showing off her frustrated and angry sides.
Clooney has also grown steadily as a director, and this, his fifth feature, gives him his biggest palette yet. The story and its characters are complicated, the mood and tone is constantly shifting, and Clooney has it all under control with a sure hand and a keen eye.
Thereís breezy chatter among the Monument Men during some downtime, which smoothly morphs into quiet, thoughtful talk about what theyíre doing and how they canít let so much of mankindís greatest achievements be destroyed or stolen. There are problems with the American military stationed there, many members of which donít believe that saving art is more vital than winning the war, and that bombing a so-called important building might help win the war. Things turn political, or maybe thatís sociopolitical, with the subject of Hitler planning to open his own Fuhrer Museum, and filling much of it with pieces taken from the homes of Jewish collectors.
The film works on different levels as a thriller and a mystery, and has its share of tragedy. Then in the middle of it all, weíre plunked down into a wartime holiday get-together with a lovely rendition of ďHave Yourself a Merry Little ChristmasĒ (performed by 16-year-old Nora Sagal) piped in, to soothing effect.
Clooney and co-writer Grant Heslov have given the film a tense, exciting, crowd-pleasing ending that reaches a bit into rah-rah flag-waving territory. But thatís fine. Itís all part of the entertainment.
Written by George Clooney and Grant Heslov; directed by George Clooney
With George Clooney, Matt Damon, Bill Murray, Cate Blanchett, John Goodman, Jean Dujardin, Hugh Bonneville, Bob Balaban
Rated PG-13