The Aftermath ★★½
ROMANCE set amidst the drama of war has been a cinema staple since the 1930s.
They continue to be churned out, particularly on both sides of the Atlantic, but the quality has generally declined.
In 2019 one of the latest efforts is The Aftermath, based on a novel by Ridhan Brook.
While I cannot judge the source material, despite an intriguing premise and fine actors in the lead roles, this adaptation struggles to rise above standard fare.
It’s actually set in Hamburg in 1946, following World War II and Germany’s surrender.
Across the defeated country the Allies are dividing the spoils of war, liberating populations and stamping out any lingering Nazi sentiment.
Jason Clarke plays Lewis Morgan, a British Army Major who is in charge of the effort in Hamburg.
The Allied military command has been provided access to some of the best homes in the city for their personal living quarters with the former German residents forced out.
Lewis is an intelligent and fair leader who can be ruthlessly efficient or compassionate depending on his determination of the circumstances.
He decides to allow the owners of the house he has been allocated, widower Stephen Lubert (Alexander Skarsgaard) and his teenage daughter, to continue using the top floor while they await their fate.
Into this dynamic comes Lewis’ wife Rachel, played by Kiera Knightley, whose dislike of the Germans has been intensified by the death of their young son during the bombing of London.
The death has created unresolved issues between Lewis and Rachel and Stephen’s background becomes more of a factor.
While the interplay between these three characters is relatively engaging, bolstered by the performances, a build-up of tension is constantly lacking.
Clarke, Skarsgaard and Knightley are all convincing in their roles but the script doesn’t enable them to create the required chemistry.
Ultimately the climax and resolution lacks the emotional heft that you would expect.
Those who enjoy old-fashioned romantic dramas should still enjoy elements of this one.