REVIEW: Bridge of Spies

Courtesy of Dreamworks

Here’s how crowded the fall movie season is: Steven Spielberg and Tom Hanks have a new movie in theaters this weekend – with a screenplay co-written by the Coen brothers – and I’ve barely heard anyone talking about it. Ordinarily, I’d consider that a bad omen for a film’s quality, but now that I’ve seen it I can say that’s definitely not the case.

Bridge of Spies, a Cold War drama inspired by a true story, is a solid entry in Spielberg’s filmography; not as iconic as Saving Private Ryan or Schindler’s List, but up there with underrated works like War Horse and Catch Me If You Can. Granted, a “solid” Spielberg movie would be a career-topping achievement for almost any other director.

I honestly think the lack of buzz simply speaks to how insanely competitive award season has gotten over the past decade or so. Still, I hope this one doesn’t fall through the cracks because it’s an engaging, old-school drama reminiscent of the Frank Capra. You know, the kind of movie people have in mind when they complain that Hollywood “don’t make ’em like they used to.”

Bridge of Spies is similar to Spielberg’s other historical films in that it addresses modern politics through the narrative of past events. In this case, the revered filmmaker and his collaborators have plenty to say about the difference between genuine love of country and jingoistic platitudes. Namely, they argue that upholding the Constitution when it’s convenient doesn’t make you a patriot; it’s how devoted we are to the rule of law when our darker natures would rather ignore it for a while.

That’s what happens when attorney James B. Donovan (Hanks, taking full advantage of those Jimmy Stewart comparisons) is tasked with representing accused Russian spy Rudolf Abel (Mark Rylance) at the height of tensions between the United States and the Soviet Union. Although hesitant at first, Donovan comes to see it as his patriotic duty: everyone is entitled to a proper defense.

Unfortunately, Donovan’s superiors’ don’t see it that way; they want to rush through the appearance of a fair trial so they can get straight to Abel’s execution. Imagine their surprise and frustration when they realize that Donovan is taking his job seriously instead of going through the motions like everyone else.

He and Abel, although on opposite sides of an escalating global conflict, develop a begrudging respect for each other’s principles. That leads Donovan to plead with the court to spare his client’s life after he’s quickly found guilty. In the lawyer’s view, shaped by years in the insurance industry, Abel would make a good bargaining chip if an American spy ever found himself in a similar situation behind enemy lines.

When an American pilot (Austin Stowell) gets shot down over Soviet airspace, Donovan looks downright psychic. Since neither country can acknowledge they’re communicating with one another, they look to Donovan to act as their unofficial negotiator in a prisoner exchange. He quickly finds himself on the wrong side of the Berlin Wall trying to save multiple lives against the threat of nuclear war.

After the careers they’ve had, I don’t think anyone would fault Spielberg and Hanks for coasting a while, especially on a movie that hits all of their artistic sweet spots like “Bridge of Spies” (such as the nature of war, the greatest generation, patriotism, and the ordinary man in an extraordinary situation). But their refusal to deliver anything less than their best is what makes these men so beloved by critics and audiences alike.

Spielberg continues to ponder the thematic elements he tackled in the brilliant Lincoln, updating them for the 20th century to show how a rapidly changing world makes our commitment to Constitutional principles more vital than ever. Considering the controversy that typically surrounds such a conversation, it’s a no-brainer to have those philosophies espoused by someone as revered as Hanks.

The actor is in top form here, primarily because the role highlights all of his strengths. The intelligent, sentimental screenplay (credited to Matt Charman, Ethan Coen and Joel Coen) provides him several rousing monologues that had me wiping my eyes, while Hanks’ everyman qualities help him convey that even someone as noble as Donovan isn’t immune from the thrills of the spy game.

There’s a terrific moment late in the film when a CIA agent tells Donovan to memorize a phone number. A few seconds later, he yanks the slip of paper from the lawyer’s fingers and lights it on fire to prevent it from falling into the wrong hands. The unmistakable giddiness in Donovan’s face, despite the perilous situation and their grim surroundings, is downright adorable.

While Hanks is the unquestionable star, he’s surrounded by other compelling actors delivering fantastic performances, including Amy Ryan, Alan Alda, Dakin Matthews and the always-reliable Jesse Plemmons. But the most memorable of all is Rylance, who instills heart and humanity into a character who could’ve easily been a cartoonish villain.

His work as Abel allows viewers to see why Donovan risks his life and reputation to defend him. I’m not sure what the film’s Oscar prospects look like, but he seems like a shoo-in for a Best Supporting Actor nomination.

Bridge of Spies is a Spielberg movie, so of course it looks incredible. Janusz Kaminski’s cinematography provides a rich visual palette and adds complexity to each shot. I mean it as a compliment when I say the movie looks like it’s from another era. Thomas Newman’s score is also strong, adding emotional depth without being manipulative or overbearing.

I know it’s crazy to suggest that the world’s most famous director is underrated, but it seems like many viewers have grown accustomed to his genius and take it for granted. If you’re one of them, Bridge of Spies is an excellent way to remind yourself what a powerful filmmaker Spielberg can be.

Bridge of Spies is rated PG-13 for some violence and brief strong language.

Grade: B+