Can Keira Knightley walk and emote at the same time? That’s the big question on my mind after The Aftermath, a movie in which the whole world seems to stop every time her character needs to have a cry. It’s frustrating to spend your life trying to convince people that period pieces are good, actually, only to then see one that feels like an embittered history teacher’s punishment assignment. It’s the kind of movie where sumptuously costumed actors swoon and wail as if to convince us that the past was Serious and Important, while forgetting that the players in it were real people.
Keira Knightley plays Rachel Morgan, who’s been reunited with her British officer husband, Lewis (Jason Clarke) at his new post helping to administer and rebuild post-war Hamburg. They’ve requisitioned the palatial mansion of a German architect, Lubert, played by Alexander Skarsgård. Rather than toss him and his daughter out on the street, where gangs of Hitler loyalists with 88 tattoos are waging guerrilla raids against the occupation, Lewis lets Lubert stay upstairs in his own mansion. Lewis’s hardliner colleagues take to calling him “Lawrence of Hamburg,” on account of he’s kind of a softie towards the Germans.
If you’ve seen the poster you can probably imagine what happens between Rachel and Lubert. And that’s fine, but it’s one of those movies where it feels like the poster is the only thing driving the narrative. These things happen because the pitch meeting said so.
Which is to say that right up until the moment Rachel and Lubert kiss, they have zero chemistry. She initially hates him, along with all Germans, because her son died in the blitz. He initially resents her rudeness and the casual way the British scapegoat him, ignorant to the realities of living under totalitarian rule. “I was against everything the Nazis stood for,” he says. But one night Rachel and Lubert get into an argument and he plants a non-consensual kiss on her and suddenly the affair is on. Nothing really led up to this affair and it doesn’t really make sense based on the information given, but alas, the Plot Outline Decrees It.