Bridge of Spies

Despite the critique from many a historian, nobody does history as consistently well as Spielberg. Schindler’s List, Lincoln, and Munich were all fine retellings that balanced fact and emotion extremely well. Other of his films such as Empire of the Sun, War Horse and perhaps most-notably Saving Private Ryan inhabit a detailed, rich historical world, despite adapting the circumstances into their own story. His latest film, Bridge of Spies takes a look at the events surrounding the exchange of Soviet spy Rudolf Abel and American U-2 pilot Gary Powers. 

The year is 1957 and in Brooklyn, KGB spy and talented painter Rudolph Abel (Mark Rylance) goes about his business; retrieving secret messages and not getting caught in the process. However, this time the FBI are on his tail and he’s arrested whilst his hotel room is raided. Elsewhere in town, insurance lawyer James B, Donovan (Tom Hanks) is asked by his boss (Alan Alda) to take on Rudolf’s case. It’s imperative that the U.S justice system is seen to be fairly representing the spy, and the Bar association has unanimously voted that Donovan should draw the short straw. 

A guilty verdict is a forgone conclusion, however Donovan gives the case his all, and even after the verdict, talks with the judge to downplay the sentencing from death to incarceration. There may be a time when an American is captured by the Russians and a trade required. That’s exactly what happens when U-2 reconnaissance pilot Gary Powers (Austin Stowell) crashes over Russia and fails to kill himself. Donovan is chosen to negotiate the trade, however he must travel to the divided Berlin to do this. 

Bridge of Spies plays out like a classic espionage thriller, subtle and nuanced like the most recent notable example Tinker Tailor Soldier Spy, but with Spielberg’s personal touch thrown in for good measure. The period style is immediately evident through the set design, and the entrenched fear of the time palpable through minor details like everybody’s favourite civil defence film Duck and Cover. In the Berlin scenes, the fear and panic is noticeable as construction starts on the Berlin Wall; a snapshot of Europe’s instabilities at the time. Thomas Newman’s score stays largely unannounced, but when it does come out, there’s a distinct Road to Perdition feeling to it all. 

Much like his last film Lincoln, Spielberg accents the themes of this quite astounding story through what can be most closely described as ‘selective patriotism’ – drawing out the inherent humanism in liberal American values, whist rejecting the cold bureaucracy that seems to have taken their place. Donovan cites the constitution in his appeal for Abel, partly because he believes in its protective principles – even if Abel’s not an American – partly because he’s foresees the value in keeping him alive, but also because he empathises with Abel. It’s here that Spielberg reveals his true intentions, which are as usual to draw out compassion and build character. 

These areas are what really sets Bridge of Spies apart from what the film could have been in lesser hands. The well-rounded, often witty Matt Charman/Coen Brothers script covers the historical ground exceptionally well, and the gritty cold-war environment is brought to life through Janusz Kamiński’s reserved cinematography. However the good-natured James B. Donovan is the root of this film and carried through by the always-exceptional Tom Hanks. Hanks gives this film everything, both to his role and to others. He’s well known for his generosity as a co-star, and it really shows. Everybody that shares the screen with him is at their very best. Mark Rylance brings a composed genteelness to Abel that makes him immediately likable, and other standout roles include Stowell as Powers, Jesse ‘Lydia O Lydia’ Plemons and all-round acting legend Alan Alda (despite only making a brief few appearances). 

Not only does Bridge of Spies continue to prove that any Spielberg/Hanks collaboration turns to gold, but it marks a strong return to the classic espionage sub-genre, evident even through the notably “old-school” editing. This film is unashamedly Spielbergian in all its glory – from the human interest core to the final moment of minor sentimental overreach. Many criticise Spielberg for his neat and tidy endings but as a piece of historical storytelling, you don’t need anything more. This is a film that brings out the humanity behind the events and is also the first film I’ve seen in ages that got a healthy round of applause at the end, which certainly says something.

War Movie Month: Saving Private Ryan (1998)

Saving Private Ryan, one of several Spielberg war films that we'll examine this month, has been heralded for its incredibly realistic portrayal of combat, and for its harrowing performances from cast members, including of course, Tom Hanks. However it has also come under the scrutiny of veterans and filmmakers alike. It's a film that can be quite unnerving to watch, but ultimately can stand up against some of the greatest war movies made thus far.

After a present-day prelude, we are taken back to June 6th 1944, the D-Day invasion on Omaha Beach. Captain John H. Miller (Tom Hanks) leads the 2nd Ranger Battalion up the beach and toward German defences as severe carnage ensues around them. Several days later, after the situation is more controlled, Miller learns that his company is to find Private James Ryan (Matt Damon), a missing-in-action soldier and the last remaining of four brothers fighting in the war. 

Saving Private Ryan is well known for its realistic representation of combat conditions, especially in the opening scene of the landing on Omaha Beach. Just as Oliver Stone aimed to represent his experiences in Vietnam in Platoon, so did Spielberg strive for accuracy in his representation of the landings. The 27 minute sequence cost millions to make and wasn't even storyboarded, with Spielberg preferring to move the camera freely to capture the action. The horrific details of seasickness, machine-gunfire, bloody water and limbs being torn off make for some difficult viewing, with some WWII veterans regarding it as the most realistic representation of the events that they have ever seen. The power of the film rests in this realism, and the relatable characters  that are placed within this insane situation, on a controversial mission that will cost several lives just to save one. If I have one criticism, it's that at times, it becomes overly patriotic to the point that it can come across as less about the men using their allegiance to grapple with the situation, and more as a justification for their actions.

Whilst receiving critical acclaim both on release, and since, Saving Private Ryan has also had it's critics, one of which being the aforementioned filmmaker and veteran, Oliver Stone, who believed the film's patriotic and violent representation of WWII may have inadvertently fuelled America's love of war. Although Brian De Palma (Scarface) suggests otherwise, stating that the level of violence is Spielberg "trying to show something about the brutality of what happened". Be that as it may, it's an interesting point about the influence of a film on society. Personally, I have always found the battle scenes so intense that they put the horror and significance of such a conflict into perspective.

Saving Private Ryan has a unique, slightly-soft and desaturated look, with a heavy amount of film grain, reminiscent of WWII-era newsreels. Many of the battle scenes use a slight 'shaky-cam' effect which is never particularly disorientating but helps to place the audience in the action. Janusz Kamiński again collaborated with Spielberg as DP on the film, after he utilised some quite stunning cinematography in Schindler's List (which we'll look at later in the month).  Kamiński won Best Cinematography for Saving Private Ryan. Working together with the images is a screaming sound stage which adds to the intensity of the battles. Bullets flying left, right and centre, shells whistling over-head, it can be horrifically unnerving and rightfully earned the film the Academy Award for Best Sound Design.

The fury of the battle scenes is put into perspective by the poignant performances from the cast. Hanks is magnificent at portraying characters that are inherently human, and as Miller, he conveys the challenging and conflicting nature of leadership. The battalion is full of intriguing characters but some standouts include the loyal Technical Sergeant Horvath (Tom Sizemore) and the sharpshooter Private Jackson (Barry Pepper), who frequently reads verses from the bible whilst pointing his sights at the enemy, a perfect representation of the conflicting nature of warfare.

Saving Private Ryan is a strong war film that uses realism to confront the horrific nature of warfare. Its tale of sacrifice and heroism may be overshadowed by an overly-patriotic message but the chilling scenes and heartbreaking performances elevate it to another level.