Director Terry Gilliam once said; “The great difference between Kubrick and Spielberg is that Spielberg is much more successful, his films make much more money. But they’re comforting; they give you answers. 2001 has an ending and I don’t know what it means, but I have to think about it; I have to work. The success of most films in Hollywood these days, is down to the fact that they tie things up in nice little bows. They give you answers and, even if they’re stupid answers, they allow you to go home and not worry about it anymore.”
Despite his name being more synonymous with the practice of making films than any other in history, there have always been questions raised about the moral simplicity of Steven Spielberg’s films. Few have doubted his ability to create hugely entertaining and iconic pictures, but too often his name is cited as reference for the lack of critical thinking in mainstream cinema; the ambassador for ‘movies’ rather than ‘films’. Perhaps complexity isn’t always essential in popular filmmaking; people plus dinosaurs plus island, as a concept for a film, is fairly self-explanatory. But when the subject matter is something as complex as the Cold War, portraying a multifaceted prisoner negotiation against the backdrop of unprecedented American nationalism and paranoia, the “nice little bows” can be hugely detrimental to an otherwise entertaining and solidly made film.
Inspired by the events surrounding the U-2 Incident in 1960, Bridge of Spies portrays the attempts of American lawyer James B. Donovan in negotiating the release of downed American pilot Francis Gary Powers from the USSR in exchange for Rudolf Abel, the captured Soviet spy whom Donovan had successfully helped survive the death penalty. In a slick, well-executed opening, FBI agents track Abel through a busy subway station, across Manhattan and to his apartment before arresting the enigmatic infiltrator. Motivated by the need to (at least in appearance) uphold constitutional law, insurance lawyer Donovan – who distinguished himself as a member of the prosecution team during the Nuremburg Trials – is approached to stand as Abel’s defense attorney. Donovan ostracizes himself with his commitment to American justice during the trial under immense pressure from his family, his profession and the CIA.
The focus then shifts to Donovan’s new role as a non-governmental representative in East Berlin, where he was unofficially sent to negotiate the swap of Abel for pilot Powers. Donovan uses the freedom his role entails to include the release of imprisoned American student Frederic Pryor to negotiations, further complicating an already intricate and politically hazardous situation.
Spielberg’s smooth direction, coupled with a great cast, ensures the first half plays out as an enjoyable courtroom drama, acutely exploring the necessity of defending the legal rights of the least popular citizens in the times of social and political turmoil. Tom Hanks is as reliable as ever playing Donovan, demonstrating the classic leading-man qualities that make him a modern day Jimmy Stewart; immensely likeable, charming and relatable to the everyman. And whilst Bridge of Spies begins as his Mr. Smith Goes to Washington, the second half starts to unravel slightly once Mark Rylance’s brilliantly understated Abel begins to feature less and less.
With a second half that’s decidedly less engaging and entertaining than the first, the usual Spielberg foibles become more apparent. His overly simplified presentation of the American mindset of the time, the Disneyfied family unit, the explicit visual cues and the disgracefully schmaltzy score from the usually great Thomas Newman all drag the film down to a level ill-beffitting its interesting script (polished by the Coen Brothers) and great cast. Whilst he is doubtlessly a great presenter of coherent narratives, his proclivity for simplifying complex situations into manageable chunks (for an audience I suspect are far more intelligent then he gives credit) ensures that, while he might be the most well known director of his generation, Spielberg is far from being anywhere near the best.
It will be interesting to see how the Academy responds to Bridge of Spies, as it contains enough of the Red, White and Blue claptrap that usually leads to Oscar nods, with stars Hanks and Rylance more than deserving of nominations for performances that make the film. Although we at LeftLion Screen defer from providing star ratings in our reviews, with it’s great performances, solid direction and entertainment value, if not simplistically presented plot, Bridge of Spies is as perfect an example of a 3-star film as you are ever likely to see.
Bridge of Spies is showing at Broadway Cinema until Thursday 10 December 2015.
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