There have been plenty of movies that concentrate on torrid wartime romances but, as you might guess from its title, The Aftermath is based in that uncertain period just after the end of World War II, when the victorious allied forces were trying to manage their defeated enemy and get them back into some semblance of order – after all but destroying them.
Based amidst the devastated ruins of Hamburg, Colonel Lewis Morgan (Jason Clarke) is one of the luckless officers charged with heading up those efforts and, to ensure that his wife, Rachel (Keira Knightly), can live comfortably alongside him, he commandeers the palatial home of German architect, Stephen Lubert (Alexander Skarsgard), and his teenage daughter, Freda (Flora Thiemann).
Stephen claims he has never been a Nazi sympathiser and he is grieving the loss of his wife, who was killed during the allied bombing of Hamburg. Obliged to live up in the attic, Stephen and Freda can only watch in silent dismay as the British couple attempt to make themselves at home in the main part of their house.
But Rachel is mourning a loss of her own – and it’s quickly apparent that she and her husband are not exactly your average happily married couple. There’s a yawning chasm between them, one that they seem totally unable to cross – and it doesn’t help that Stephen is an attractive young man, who soon begins to cast alluring looks in Rachel’s direction – ones that she cannot help responding to.
The Aftermath is, ultimately, a somewhat slight melodrama. It’s beautifully acted by the three leads – particularly Knightly, who once again effortlessly disproves the legions of critics who claim her career is based entirely on her looks – and its evocations of post war Hamburg are convincingly mounted. But the film is lacking in any real depth beyond the tortured love triangle at the core of the story. We are never shown enough of the lives of the other characters who occasionally inhabit the screen. There’s a brief subplot that sees Freda becoming involved with young Hitler supporter, Albert (Jannik Schümann), but that feels underdeveloped – while Martin Compston has a fairly thankless role as Burnham, one of Lewis’s colleagues, a man who clearly thinks that all Germans should be treated as harshly as possible. He’s simply not given enough to do.
There are three credible outcomes for the situation and it’s probably true to say that the scriptwriters have opted for the least daring of them. Ultimately, The Aftermath is perfectly watchable film with a couple of genuinely tear-jerking moments, but I cannot help feeling that, properly handled, it could be so much more than that.