Wounded in Africa during World War II, Nazi Col. Claus von Stauffenberg returns to his native Germany and joins the Resistance in a daring plan to create a shadow government and assassinate Adolf H...
Valkyrie dramatically plotted to assassinate Hitler through a monotonously solid scheme. Operation Walküre was the last known attempt to overthrow the Nazi party, immediately stop National Socialism and assassinate the Third Reich himself, Adolf Hitler. An emergency continuity of government operations that planned to roll out Germany’s Reserve Army to implement order in case of chaos ensuing the nation. Various German military officers however, were able to acquire the original plan and make certain amendments. These alterations would assist the attached conspirators in regaining control of German cities, the disarmament of the Schutzstaffel and the arrest of Nazi leadership. Yet these could only be actioned dependant on the successful assassination of Hitler.
Suffice to say, as history would indicate to us, the plan was unsuccessful. However, that does not prevent Singer from re-telling the implementation of Walküre and highlighting the significance of painting various Nazi officials as morally conflicted humans. Colonel von Stauffenberg, having been severely injured during an air raid of P-40 fighter-bombers, rapidly became disillusioned with the future of a country he was once proud of. Him and various other military officials, including General Beck, General Olbricht and Dr. Goerdeler, questioned the tyranny that Hitler envenomated Europe with. And so, the proposition to utilise Operation Walküre in an attempt to overthrow the Nazi party was swiftly commissioned. This included the infamous July 20 plot, von Stauffenberg’s assassination attempt by planting a detonation device within Hitler’s Eastern Front military headquarters, “The Wolf’s Lair”.
Valkyrie can simply be surmised in one word: solid. Much like the concrete foundations that the Nazi party believed their ideologies were constructed upon, Valkyrie’s cold and meticulous approach works both in its favour and detriment. For the uninitiated, Valkyrie provides an important history lesson in World War II politics. War depictions, especially those manufactured in Hollywood, tend to bend the truth to insert some level of overburdening national patriotism. Singer, along with McQuarrie’s conscientious screenplay, avoids that by embracing the history of Walküre, despite a few historical inaccuracies littered throughout. Audiences should know the outcome of Valkyrie even before deciding to watch the feature or not. It’s history, and everyone should know the climactic events of the Second World War. McQuarrie precariously utilises the inevitability of Walküre’s failure to embody a sympathetic motive within these characters. Culminating in a solemn third act that embellishes Stauffenberg’s final cry. “Long live sacred Germany!”.
The preceding conversations of proposed political manipulation and operation planning, whilst succinctly entertaining, were monotonous throughout. The narrative’s pace had no peaks or troughs. The re-enactment of the July 20 plot failed to conjure up any tension, as did the initial battalion attack. The story’s inevitability could assign itself as the culprit, however it’s more adorned to McQuarrie’s minimal characterisation of von Stauffenberg that plagued its potential. The stellar British supporting cast, including Nighy, Wilkinson and Branagh, were able to fluctuate with their emotions. Nighy in particular was able to transition from professional stability to overwhelming frustration, all in a matter of seconds. Cruise (regardless of the Scientology protests...) was somewhat miscast, despite his profile resemblance to the real individual he was portraying. The stoic yet vigorous persona he opted for unfortunately weakened the gentile moments with his family, often exuding unconvincing emotional output. Again, the resonant third act redeems all these qualms, it just takes two thirds of a feature to connect with von Stauffenberg as a human. Honourable, albeit paper-thin. Also Hitler’s portrayal, with Singer implementing low camera angles and a multitude of shadows, likened him to a Bond villain. Unusual to say the least.
As mentioned before, Valkyrie is solid. Its slick production design, wholesome historical accuracy and competent supporting cast made this operation a successful depiction of rebellious Nazis. Frustratingly the central performance, one-note narrative tone and thinly detailed characterisation failed to explore the conflicting morality of military officials. The inner debate between right and wrong. Surmounting to the consequential question of “what if...?”.
