Bridge of Spies Review

Saving Private Rylance 

Released : December 26th 2015

Certificate : 12A

Director : Steven Spielberg

Cast : Tom Hanks, Mark Rylance, Amy Ryan, Billy Magnussen, Austin Stowell, Sebastian Koch

Plot : During the Cold War, Russian spy Rudolf Abel (Rylance) is arrested by the american government. In an attempt to give him the appearance of a fair trial, James Donovan (Hanks) is assigned to defend him. Matters are complicated when american pilot Francis Gary Powers (Stowell) is shot down and captured by the Russians.

Yet another leading film this award session, and as time passes, predictions can quiet easily be made about the Oscars with the influence of the passing two award ceremonies. The award this film acquired at the recent BAFTA’s was that of best supporting actor to Mark Rylance (awarded before I saw the film) for his portrayal of Russian spy Rudolf Abel who seems surprisingly calm during his trial. The film also brings Steven Spielberg back to into award nominations, with last entry being Lincoln. A general critical response seems to be that we can be inclined to take such well-established directors work for granted. And that Bridge of Spies has reminded us of his skill of the craft, which we still need to appreciate, even with a routine fourteen academy award nominations, winning three of these. A true Meryl Streep of the directing world. And Bridge of Spies partners him again with Tom Hanks in a film studying patriotism, justice and humanity. But a less talked about and my surprising aspect of the film is that of the involvement of the Coen brothers. They being the two who wrote the films original screenplay, adding to the films nomination categories.

As far as this writing and the story it creates, it results in very classical cinema. This isn’t using the term in relation to it being of a very high standard, but rather due to its attitude to subject matter. With a plot with little morality to divide (as most war film do divide) and minimal character development, but furthermore the tendency to dramatics (overly for some) topics of patriotism and justice. It gives the film a squarer and more ununique take, with vibes relying on drama as seen before in Stevens films such as Lincoln and War Horse. This does makes the film perfect material for Steven to create specific atmospheres, but there is lack of capitalisation in some areas of the film. It is a surprising screenplay to come from the Coens, and it very much has a sole purpose in the narrative meaning, lucky that meaning will be a crowd pleasure. The film will leave audience happy as it’s a punch the air tale about doing the right thing. But Steven could have capitalised more on the tension particularly within the climax of the film, tension being a different atmosphere to drama. As an audience member there was little doubt in my mind that their would be a happy ending, the film could have attempted to sway audience more.

Steven however is masterful at building and instilling the warm message the film has into the cold world of Berlin, and immersing the audience into that world. While the film won’t generate relatability with the population of america, but Steven does manage to construct great work within Berlin, showing off his scene management with panning shots down along the building of the Berlin wall being noteworthy. Another effect which was refreshing to see again is his ability to manage action sequence, which was lacking in his recent instalments. Despite it being just one scene of a plain crash, it looks stunning and worth several of many other films action scenes. This along with other subtle effects, despite the films reliance on dialogue (always difficult to add to directing wise), shows Steven great skill. Not necessarily for new shots or for atmospherical creation, and other aspects like the obvious choices to construct certain scenes is probably the main reason why he will be missing out for the directing award nomination, doesn’t make his work any less tasteful. To conclude on Steven’s contribution, this film feels very much like a perfection of his art form of the good willed dramatic war story, varnished over War Horse and Lincoln.

Now to address the acting, which this side of the film is carried by Hanks and Rylance. This doesn’t imply that there isn’t other acting talent involved, but the other characters feel more 2D and serve to compliment the works of Hanks and Rylance. Gaining higher status with a brilliant performance in Wolf Hall after a career devoted mostly to stage, he follows it with a minor role in The Gunman and now this, earning him his first film acting award. This was a dark horse for many of the awards session due to the fact that in comparison it is the most subtle performance probably across all acting categories. This due to the characters lack of extreme emotion displayed or inner conflict within the character, this is a performance gaining praise solely through conviction and believability and rightfully so. While Stallone might still be the favourite, the acting in the sporting role categories is looking the hardest to call at this point. As Rylance differed himself from Hanks in this film via the pure deliverer of lines, Hanks to a degree still felt scripted, while Rylance didn’t. In many ways the end goal of an acting, to distinguish a script within a genuine character.

Bridge of Spies doesn’t bring anything new to the table within its genre, story or directing. But all long with the acting are executed to such a fine quality that it doesn’t matter. It is without a doubt that many may watch B of S and find it to be rather cliché in scenes that attempted to be more poignant than they are (the hyperbole reaction of the american government and people being a main one), but its impossible not to enjoy this film good natured tale. This being a tale fuelled with talent across the board as far as writing, directing and acting meaning that these cliché frameworks are more than welcome on screen within such good hands. Another brilliant and memorable collaboration between Hanks and Spielberg in a film with style and motive no stranger to either, but lucky the quality outshines any repetitiveness. S of B is well written, brilliant directed and superbly acting (thanks to Rylance), but in a year of unique cinema, only one Oscar is likely for this film.

Verdict : Steven has created his most enjoyable film since Catch Me If You Can, while the film could have had a different vibe within another directors hands, Steven’s were good enough. Rylance now has a career in film as a true character actor.

Verdict : 4/5

Quote : “And don’t nod at me like that you son of a bitch.”