Director: Steven Spielberg Starring: Tom Hanks, Mark Rylance, Amy Ryan Writers: Joel Coen, Ethan Coen, Matt Charman | 4.5/5 Bridge of Spies Spielberg does not make the kind of movies he used to. Sure, he’s moved from E.T., but the director’s move to more serious, detail-oriented dramas is not necessarily a bad thing. Though, it must be said that when he tries to look back, a la Tintin, he still kills it. There may not be as many action sequences in Lincoln or Bridges of Spies, but the human heart remains. Spies, which follows James Donovan (Tom Hanks) as he tries to negotiate the release of a captured spy during the height of the Cold War, is yet another marvel from the legendary director. First off, how can you go wrong with a team like Spielberg/Coen’s/Hanks? You can’t. Each one a pillar of cinema in their own right, they all add a little something that makes Spies such a distinctly satisfying movie. For a story like this, aesthetic variety is a must. It is easy for a courtroom drama that stretches pass the 140-minute mark to become boring real quick - see last year’s The Judge for a prime example. At this point in his career, Spielberg could tell an emotionally rousing story based on the Yellowpages, so we need to worry. |
As he did with Lincoln the director goes to great lengths to showcase the poitical/legal minutiae that goes into these real life stories. Most traditional historical dramas would spike the drama with affairs and midnight murder. Not Bridge of Spies. Like a true master, Spielberg uses his perfect technical proficiency to inject the quiet scenes with real intrigue. The tale, based in the mid-1950’s, feels as real and as relevant as anything else being made about current events. The films first half introduces us to our two main characters, U.S. insurance attorney Jim Donovan and Russian spy Rudolf Abel (Mark Rylance, spectacular). Tasked with defending a man who is national enemy practically guaranteed to be convicted, Donovan must do his job while facing the judgement of a whole nation.
There is nothing too spectacular about these story points, but ‘Spies’ really begins to hit home when a U.S. pilot, tasked with flying over Russia and taking pictures, gets captured. Who else but Jim Donovan is brought in to work out an exchange: pilot Francis Gary Powers (Austin Stowell) for Abel. Morals begin to grow murky and you begin to feel convicted as you feel bad for Powers poor treatment by the Soviets, even though you were just judging someone like Abel. These are nerves Spielberg is playing with, and he plays with a maestros proficiency.
The script contributions from the Coen brothers don’t scream of their usual style. Smartly, the choose to play to the Spielberg-ian feel of the film, while also throwing in a few comically dark moments, especially in the film’s second half. Also helping Spielberg out is a whole roster of stellar performances. Rylance is getting most of the attention, but that is only because we have grown so used to the excellence of Tom Hanks that we take advantage of him. There is nothing quite as powerful as his final scene in Captain Philips; but, come one, what is? Across the board, Bridge of Spies is a thing of perfectly made excellence. Well worth the wait, Steven.
There is nothing too spectacular about these story points, but ‘Spies’ really begins to hit home when a U.S. pilot, tasked with flying over Russia and taking pictures, gets captured. Who else but Jim Donovan is brought in to work out an exchange: pilot Francis Gary Powers (Austin Stowell) for Abel. Morals begin to grow murky and you begin to feel convicted as you feel bad for Powers poor treatment by the Soviets, even though you were just judging someone like Abel. These are nerves Spielberg is playing with, and he plays with a maestros proficiency.
The script contributions from the Coen brothers don’t scream of their usual style. Smartly, the choose to play to the Spielberg-ian feel of the film, while also throwing in a few comically dark moments, especially in the film’s second half. Also helping Spielberg out is a whole roster of stellar performances. Rylance is getting most of the attention, but that is only because we have grown so used to the excellence of Tom Hanks that we take advantage of him. There is nothing quite as powerful as his final scene in Captain Philips; but, come one, what is? Across the board, Bridge of Spies is a thing of perfectly made excellence. Well worth the wait, Steven.