While it may not quite be the modern-day “Casablanca,” it is nevertheless a grandly entertaining stab at old-fashioned storytelling (albeit with levels of sex, violence and profanity that they could never have gotten away with back in the day) buoyed by smart and stylish filmmaking, a good performance by Brad Pitt and an even better one from Marion Cotillard.

As the film opens in 1942, Pitt's Canadian intelligence officer Max Vatan parachutes into North Africa and makes his way to Casablanca. His mission is to assassinate the German ambassador with the help of Marianne Beausejour (Cotillard), a French Resistance fighter who will be posing as his wife and who has gotten herself into the good graces of the local Nazi bigwigs. Over the course of the next few days, they prepare themselves for the mission while trying to establish themselves as a loving married couple so as not to arouse any suspicion. Something does get aroused between the two of them despite their professional attitudes, culminating in one of the more intriguingly staged love scenes of recent memory. With that out of the way, they complete their mission in an equally spectacular manner. During their escape, Max asks Marianne to return to London with him so that they can get married.

The story picks up a year later with Max and Marianne married and living in London with their infant daughter in as much bliss as one could possibly hope for during wartime. That all comes to an abrupt end when he is called into headquarters and informed by an officious S.O.E. official (Simon McBurney) that there's evidence suggesting that the real Marianne Beausejour was killed a couple of years earlier and that his wife is actually a German spy. Max cannot believe this but the evidence, while not quite conclusive, is fairly damning. To settle the question once and for all, he is ordered to leave some fake information lying around where she can find it—if it turns up in the next intercepted German communique, she is guilty. If she does turn out to be a spy, Max is required to kill her. If he refuses or tries to tip her off, it will lead to his execution as well. To make matters even more discomfiting, not only is Max not allowed to investigate on his own during the three days it will take to get the potentially damning evidence, he has to go on with Marianne and pretend everything is normal.

“Allied” boldly wears its influences on its impeccably tailored sleeves—not just “Casablanca” (though the two films not only share a key location but also include a key scene involving the song “La Marseillaise” and a climactic moment set at an airport) but any number of wartime dramas that one might find in regular rotation on TCM and several Alfred Hitchcock thrillers to boot. But "Allied" is not merely a pastiche of elements cribbed from other, better sources. The film was written by Steven Knight, whose previous credits include such smart adult-oriented thrillers as “Dirty Pretty Things” and “Eastern Promises,” and he gives viewers an intelligent and twisty story that generally plays fair with them and keeps them guessing the truth about Marianne without ever getting too contrived or convoluted (though it does contain perhaps one more red herring than it can properly digest). Zemeckis, making his first foray into WWII territory since co-writing the screenplay to the cult favorite “1941,” is, of course, justly famous for making films that push the envelope in terms of technology. While he does pull off a couple of technical tour de forces (such as Marianne giving birth during an air raid and a wild house party being interrupted by another air attack), he reminds us that he can generate just as much suspense and excitement with nothing more than a couple of people in a room together.