by Ed Travis
Easily Steven Spielberg’s best film in years, and probably his best since Minority Report, Bridge Of Spies is a refreshingly old fashioned and adult-skewing Cold War thriller in an age where that type of film is so rare as to be novel. The pedigree on this picture is astounding, with Spielberg at the helm, Tom Hanks in the lead (surrounded by a wonderful supporting cast), Joel and Ethan Coen writing the script (along with Matt Charman), and Janusz Kaminski shooting. And while that pedigree isn’t generating quite the buzz it probably should be, it does result in a top notch, if perhaps overlong, piece of entertainment.
IMDb Plot Synopsis:
An American lawyer is recruited by the CIA during the Cold War to help rescue a pilot detained in the Soviet Union.
That Bridge Of Spies contains ample espionage should come as no surprise, but what might delight unsuspecting viewers is the humor and clever propulsion of the story. From the playful interactions between Hank’s defense lawyer and his widely despised Soviet spy client Rudolf Abel (Mark Rylance in a breakout performance), to the various cold war beats that flesh out Hank’s family and give them a dimensionality far beyond their actual screen time, to fun transitions such as cutting from the “all rise” of the courtroom to a class filled with students standing to recite the pledge of allegiance, there’s a polish to Bridge Of Spies that comes from the brilliant careers of the above the line talent crafting this picture.
Beyond the overall energy and verve of the film, there’s a powerful “based on true events” story about a lone hero representing his country in a high stakes spy swap, while simultaneously being the better man than all his superiors and cronies, who routinely dismiss the humanity of Abel, not to mention the captured American spy Francis Powers (Austin Stowell). With Tom Hanks wholly taking on the mantle of this generation’s Jimmy Stewart, it might be possible to view this tale with some cynicism. Hank’s James Donovan is virtually flawless; totally unyielding in his resolve, resourcefulness, and moral fortitude. So while his code of ethics will never so much as waiver, watching him outsmart both opponents and fellow American elites at every step of the journey never gets old. And Donovan’s deeply held belief in the value of each person and the inherent rights they possess allows him to become a prophetic hero, speaking truth to his contemporaries and perhaps speaking even more to audiences of today. In a world where politicians’ stances correspond directly to their campaign donors commands, and where individual rights are swept aside in the name of “safety”, a hero like Donovan is more potent than ever, and certainly more inspiring than any cape wearing superhero of the hour. Donovan is the type of man who would risk his life to do what is right, and who sees the inherent humanity in every person, not the least of which in a Soviet spy. The relationship between Rylance’s Abel and Hank’s Donovan is the backbone of this film and the most unique angle Bridge Of Spies has to offer. The genius of this screenplay is that Abel is not the villain (equally genius is that there may not be a villain at all). While he is a confessed spy, Abel is a man who remains loyal to his cause, a stand up guy. Donovan is able to see him as a man doing his job, knowing full well that there are Americans in Russia doing exactly what Abel is doing.
So while the film could probably use a few minutes trimmed off, I’m not quite sure where they’d come from as each character has beats and scenes which flesh the story out more fully. And while Donovan’s staunch resolve might result in a lack of character arc, the people all around him are changed and bettered by his ability to stand firm for what he believes. And while there’s some “aw shucks” sentimentality and the occasional on the nose metaphor, who better to deliver those than the Norman Rockwell of the moving image, Steven Spielberg?
The Coen’s script makes you feel a part of the Donovan family, then makes you feel the isolation of a cold and lonely trip to East Berlin as the infamous wall is just being erected. Hanks and Rylance flesh out refreshingly human characters, and Spielberg ties it all together with thrilling sequences of peril and cat and mouse intrigue before sending you out of the theater feeling inspired and believing that there are people out there who can show us a better way, and that maybe we can be more like those people too.
And I’m Out.