I found Bridge of Spies masterfully well-made, with an interesting look — lots of high contrast greys filmed with fish-eyed lenses — a very good central performance from Tom Hanks and a great one from Mark Rylance. It was also good to see all the wonderful German actors one recognises from Sense8 (Maximilian Mauff) and Homeland (Sebastian Koch) in supporting roles.
The film is based on a true story set at the height of the Cold War in which James B. Donovan (Hanks), an American lawyer, puts himself forward to defend the rights of Soviet spy Rudolf Abel (Rylance) and in doing so is then able to facilitate an exchange not only for Francis Gary Powers (Austin Stowell), a captured American U2 spy plane pilot, but also for Frederic Pryor (Will Rogers), an American student arrested in East Berlin.
It looks like an expensive film, with dozens of extras and intricate sets, an achievement considering its reported $40 million budget. The reconstruction of post-war Berlin, with its detailed view of the extent of its destruction and at that very moment the divisive wall is going up, is particularly magnificent. However, the film also feels curiously old-fashioned and slightly smug.
The film is a guilty and anxious attempt to show America how to behave morally and well today by dramatising an incident of decency and humanity from its past achieved against the tide of public and institutional opinion. I thought of it in relation to Lincoln and I’m sure future scholars will group them as films of his maturity exploring similar concerns… and oh so responsibly. If you can ignore the preachy-ness of it’s tone, it’s enjoyable.
I had to force myself to see Bridge of Spies. How could one miss a film written by the Cohens and directed by Spielberg? And I’m glad I did. But it was a struggle. And in the light of that struggle and on the evidence not only of this film but of so many dull, worthy and well-made ones over the last decade or more (War Horse anyone?), one can’t help but ask ‘When did Spielberg cease to matter’