The Monuments Men

The Monuments Men

It is devastating to watch a film be held hostage by its subject matter in a way that limits it from being anything more than what it is. The Monuments Men is exactly that, a film designed to celebrate art without having any type of artistic stroke to it. That being said, the film seems to be somewhat aware of its limits in the way that is glamorizes the idea of those limits by addressing the boundaries of language and art while constantly trying to create conflict in order to expand the stakes of the journey.

With a cast of some of the biggest American names, such as Matt Damon, Bill Murray, John Goodman and writer and director, George Clooney, the film highlights the patriotic American cause to save art (which is noted to be approved by President Roosevelt). Frank Stokes’ (Clooney) idea seems ludicrous to those with military minds he comes in contact with but from a position of looking back on history we understand the importance of the task. After Stokes gets the approval to move forward with the mission he gets to assemble an art dream team (which seems more of those left behind than those of the greatest minds). This aimless team with questionable talents is not limited to the previously mentioned American stars but like the war, includes those of the allied powers such as Academy Award winner Jean Dujardin (The Artist), and  English character actor Hugh Bonneville (Downton Abbey).

The barriers come into play with the casting of Australian actress Cate Blanchett playing the only female role of importance as well as the only character with any real opinions or back story. Blanchett‘s Claire Simone, a French woman, must work with James Granger (Damon) shortly after being forced to aid the Nazi’s  causing her to not trust the Americans after the occupation, due to a suspicion that they may also try to steal the art. The teams break off and showcase their comedic talents, such as Matt Damon trying to speak French even though those he tries to communicate request English rather than hear their language butchered. Breaking apart the cast most likely made the film easier to shoot but it creates this tonally off story where one character’s life is in danger inter cut with two other characters attempting broad comedy.

The conflict used to create tension is that Hitler has ordered all art should be destroyed if he or Germany is to fall, while the silent, fast moving, Russians want to take the art as compensation for their job in turning the war. This tension feels created as well as other parts of the film, forcefully pumping importance to the character’s narratives to give the mission more importance than actually is there. Clooney tries but fails to handle the tension and comedy that a film such as Inglorious Bastards (2009) succeeds with (barring the subject matter, some scenes feel awfully similar). This creates a film distracted by the influx of personalities overlapping melodrama and comedy without letting a particular genre effectively play out.

The Second World War was one of boundaries in both the way countries were invaded but also in the way it brought forth moral boundaries about America’s engagement in the war. The film suggests that art does not have these boundaries instead it is universal, able to be appreciated in all parts of the world by all types of people (The death of a Picasso is treated just as carefully as a death of a solider). These boundaries are also discussed with the casting and the way language is used. Cate Blanchett can play a French woman, differing languages can be overcome, and the English, French and Americans band together illustrating the way art can transcend boundaries. It is these ideas in The Monuments Men that could make it the prestige  picture the marketing desperately wants it to be but awkward balancing prevents the picture from being anywhere near what it is celebrating.