Steven Spielberg needs no introductions, as he is arguably the most prolific director in film history and one of the few representations of classic Hollywood still working today. "Bridge of Spies," Spielberg's latest, is evidence of that. It has classic sensibilities that are all but dead in today's market; sensibilities that Spielberg helped establish in the first place.
"Bridge of Spies" follows the true story of James Donovan (played by Tom Hanks), a life insurance lawyer who gets recruited by the government during the Cold War to defend Soviet spy Rudolf Abel (played by Mark Rylance) in court, and then later negotiate the exchange of the spy for one of America's own, Francis Gary Powers (played by Austin Stowell).
I had my reservations going into this film because the trailers made it seem like the whole story was just an exercise in jingoism. Without context, many of the lines used in the marketing campaign came off as platitudinous cliché's about how America is the best because we have the Constitution and it makes us the most just of any country in the world. Or, at least, that's the impression I had going in.
In reality, my initial assumptions couldn't be farther from the truth. What I thought would be an endless stream of patriotic generalizations about Cold War America ended up being an intelligent critique of our own ethnocentrism. Donovan is hated by the public for much of the movie because he's the man appointed to defend Abel, who was viewed as some sort of devil. But Donovan understands that this man is just that: a man, like any other. He was merely doing the job he was assigned to do and deserves as fair a trial as anyone. Naturally, America doesn't sympathize with Donovan's quest for justice.
Spielberg's critique of American society during the Cold War, and in general, is based on this conflict. Donovan's philosophy essentially boils down to treat others as you would treat yourself, an ideology that America hasn't always abided by throughout history. This is what makes the film so thoroughly engaging. Aside from being a taut, humble historical drama, it also forces America in front of the mirror, giving us a look at our past in a light not often used.
Virtues aside, "Bridge of Spies" also functions incredibly on the technical side of things. Spielberg is known for his subtle long takes, and this film is no different. He eliminates the need for cuts by moving the camera around his actors in a way that allows for close-ups and wide shots to flow seamlessly, which often leads to takes running for several minutes. This allows the audience to fully immerse in each scene without even realizing what's going on, giving the illusion of reality that much more credence.
This technical competence runs all the way back to the script, which is concise and engaging at every turn. Donovan is written incredibly well, which is only emphasized by the fact that Hanks, America's sweetheart, plays the character with his trademark precision. It goes without saying that you're on Donovan's side from his first appearance on screen, but it's his classic sense of wit that really locks you in. As is appropriate for an insurance lawyer from Brooklyn who finds himself under such absurd circumstances, Donovan greets every escalation in the stakes with a sort of professional sarcasm that keeps the tone light without breaking that valued sense of realism.
Spielberg and success pretty much go hand-in-hand at this point, and it's good to see that the founder of the blockbuster still keeps his classic style close to his heart. "Bridge of Spies" probably isn't going to knock the socks off of anyone in the younger generations, but for the mature, patient moviegoer, this film is one of the most satisfying of the year.
"Bridge of Spies" follows the true story of James Donovan (played by Tom Hanks), a life insurance lawyer who gets recruited by the government during the Cold War to defend Soviet spy Rudolf Abel (played by Mark Rylance) in court, and then later negotiate the exchange of the spy for one of America's own, Francis Gary Powers (played by Austin Stowell).
I had my reservations going into this film because the trailers made it seem like the whole story was just an exercise in jingoism. Without context, many of the lines used in the marketing campaign came off as platitudinous cliché's about how America is the best because we have the Constitution and it makes us the most just of any country in the world. Or, at least, that's the impression I had going in.
In reality, my initial assumptions couldn't be farther from the truth. What I thought would be an endless stream of patriotic generalizations about Cold War America ended up being an intelligent critique of our own ethnocentrism. Donovan is hated by the public for much of the movie because he's the man appointed to defend Abel, who was viewed as some sort of devil. But Donovan understands that this man is just that: a man, like any other. He was merely doing the job he was assigned to do and deserves as fair a trial as anyone. Naturally, America doesn't sympathize with Donovan's quest for justice.
Spielberg's critique of American society during the Cold War, and in general, is based on this conflict. Donovan's philosophy essentially boils down to treat others as you would treat yourself, an ideology that America hasn't always abided by throughout history. This is what makes the film so thoroughly engaging. Aside from being a taut, humble historical drama, it also forces America in front of the mirror, giving us a look at our past in a light not often used.
Virtues aside, "Bridge of Spies" also functions incredibly on the technical side of things. Spielberg is known for his subtle long takes, and this film is no different. He eliminates the need for cuts by moving the camera around his actors in a way that allows for close-ups and wide shots to flow seamlessly, which often leads to takes running for several minutes. This allows the audience to fully immerse in each scene without even realizing what's going on, giving the illusion of reality that much more credence.
This technical competence runs all the way back to the script, which is concise and engaging at every turn. Donovan is written incredibly well, which is only emphasized by the fact that Hanks, America's sweetheart, plays the character with his trademark precision. It goes without saying that you're on Donovan's side from his first appearance on screen, but it's his classic sense of wit that really locks you in. As is appropriate for an insurance lawyer from Brooklyn who finds himself under such absurd circumstances, Donovan greets every escalation in the stakes with a sort of professional sarcasm that keeps the tone light without breaking that valued sense of realism.
Spielberg and success pretty much go hand-in-hand at this point, and it's good to see that the founder of the blockbuster still keeps his classic style close to his heart. "Bridge of Spies" probably isn't going to knock the socks off of anyone in the younger generations, but for the mature, patient moviegoer, this film is one of the most satisfying of the year.