The Monuments Men is a tribute to a little known unit who performed incredible feats towards the close of World War II. While there can be no doubt that the story behind these real life heroes was indeed dynamic and inspiring, this particular adaptation does them little service. It’s a passable, but oddly bland and unexciting film.
The story is told from the point of view of Frank Stokes (George Clooney), an art conservationist turned leader of a small, WWII Army unit sworn to protect European art monuments. He recounts how he recruited and led a team of historians and museum curators (essayed by a stellar cast that includes Matt Damon, Bill Murray, John Goodman, Jean Dujardin, Hugh Bonneville and Bob Balaban) in order to retrieve works stolen by the Nazis. Their journey to save pieces by Michelangelo, Rodin and other greats lead them through Belgium, France and Germany, where they come into contact with enemy forces. Placed into deadly situations, they must determine whether the duty given is worth sacrificing their lives for.
In general, director Clooney seems to want to emulate the style of classic war films of the late 50’s and early 60’s. There’s a considerable amount of old-fashioned posturing and buddy humor similar to movies of that era. It doesn’t exactly lend authenticity to the proceedings. And the addition of levity at certain moments creates an approach that feels more akin to an episode of Hogan’s Heroes than an actual war film.
It doesn’t help that this is already an extremely difficult story to adapt. There are approximately eight leads, not including the various villains. The already overstuffed movie splits them off into four groups as they go about their assignments. Inter-cutting between them, early sections of the movie tend to put the fish-out-of water characters in dangerous circumstances, only to play the situations out in an unexpected manner (often involving humor). There isn’t enough time to really get to know these people and when we do spend time with them, their one-liners and nonchalant mannerisms around one another do little to add a sense of tension.
Admittedly, there are some serious turns, but they are also played out in an unusual manner. Particularly peculiar is the inappropriate use of narration. Whenever there is a tragic turn, a Stokes voice-over is introduced into the soundtrack, detailing the circumstances of the unfortunate event. Then, the narration awkwardly transitions the story to its next setting. It creates a strangely distancing effect. To cut away from the immediacy of these important character moments kills any strong emotion one might have felt.
Of course, the cast make the most of what they have and although it doesn’t add the tension necessary to create a thrilling tale, some of the observations made and individual gags are quite funny. There are some amusing interchanges between Murray and Balaban and there is a particularly effective bit involving one of the characters accidentally stepping on an unexploded landmine.
Still, while it has its moments, The Monuments Men never becomes truly captures the drama and tension that these people must have experienced and should be considered a minor misfire by the normally exceptional director. It’s a passable film, but a far cry from a masterpiece.