Bridge of Spies (Spielberg, 2015)

Last updated on: October 15, 2015 at 8:39 am by Evan Cogswell

Bridge of Spies (Spielberg, 2015) 2015-10-15T08:39:54-05:00 Evan Cogswell

LOGO Patheos Explore the world's faith through different perspectives on religion and spirituality! Patheos has the views of the prevalent religions and spiritualities of the world.

In what is arguably Spielberg’s best film, Ben Kinglsey famously quoted the Talmud: “Whoever saves one life saves the world entire.” The line is an apt summary of the humanism which pervades much of Spielberg’s work, and his newest film Bridge of Spies (★★★½) is no exception. And as with much of his oeuvre, Spielberg here employs his trademark sentimentality and humanism both to the film’s benefit and to its detriment.

The first half of Bridge of Spies is Spielberg at his finest. When insurance lawyer James Donovan (a solid Tom Hanks) is asked to defend alleged KGB spy Rudolf Abel, (Mark Rylance) his natural reluctance to accept a task that will make him the second most hated person in America serves as a natural vehicle for Spielberg to remind the viewer of the dignity of every human being, even thoroughly hated Soviet spies. Donovan’s rugged determination to follow the constitution and give his client a fair trial seems to be an extension of Spielberg’s own voice that defending the most despised is a noble act of decency which makes the world a better place.

As the rest of the country reacts with revulsion toward Donovan and his family, the film makes a compelling case why the rule of law is important and why we must treat our enemies the way we would want them to treat us. When Spielberg intercuts scenes reminding the viewer of the fear that paralyzed the US during the red scare, it is difficult not to see a much deserved critique of the fear mongering of many Republicans which has led to the creation of the NSA, the use of Guantanamo Bay, and the panic driven retorts which shut down any attempts at a conversation on gun control. A sequence in which the CIA is inventing jets to fly at 70,000 feet where they can take covert pictures of the Soviet Union has clear parallels with the US drone programs as well.

Throughout all these sections, Spielberg eschews overly lionizing his heroes — we first meet Donovan as he manipulates his way out of paying an insurance claim — and Spielberg includes scenes that remind the viewers that the Soviets can be just as bad if not worse. At the same time, the narrative is driven by a force that celebrates the virtue of which people are capable.

The camera constantly reminds the viewers to beware of their judgments, reinforcing the American ideal of innocent until proven guilty. Many scenes begin with a close-up or a dissolve which makes it difficult to know exactly what or whom we are looking at. Spielberg then cuts or zooms out to a mid-range establishing shot, providing the context to look more closely at what’s before us, serving as a sort of reminder that the due process which Donovan wants for his client should be applied to everyone.

However, roughly half way through the film Donovan is asked by the CIA to go to East Germany and negotiate a trade with the Soviets for an American spy they captured. At this point the film settles back on being a by the numbers thriller/rescue mission, which may not be a bad film, but it is a major step down from the nail-biting legal and ethical drama which had preceded it. It also doesn’t help that the other Spielberg film in which Tom Hanks navigates a dangerous rescue mission in enemy territory is a more riveting and better dramatized rescue mission. Compounding that problem, a couple of composer Thomas Newman’s musical cues explicitly recall John Williams’ score for Saving Private Ryan.

Once the action moves to Berlin, the film sheds not only its nuance, but also the effective close-up then establishing shot pattern. The decision to jump around to other characters to flesh out their back-stories may have given the audience a stronger emotional connection, but it significantly interrupted the narrative. While the emotional moments are mostly earned, Spielberg’s sentimentalizing threatens to become overbearing as Donovan pulls out all the stops to rescue the American spy and another prisoner discovered later. The historical story may have played out as the film depicts, but the conclusion feels foregone not because of history, but because of the emotional buildup.

Eventually the film does regain its footing, and it ties the second half to the first quite nicely, referencing some earlier scenes which have a distinct Coen brothers’ ring. (They’re co-writers along with Matt Charman.) The reason I appreciated the first half of the film so much is that it balanced the Coen’s cynicism with Spielberg’s optimism in a way that brought out the best of both. The second half is an average thriller, but it feels like less because in losing that balance it drops substantially from the first half. However, that drop in no way detracts from the gripping drama which unfolds over the first part of Bridge of Spies.

Previous Post

October 11, 2015

The Ballet Boys (Elvebakk, 2015)

Next Post

October 31, 2015 Sex, Death and Bowling (Walker, 2015)

Browse Our Archives

Select a Category 10 Years Later 1999 Top 5 2007 Top 10 2008 Favorite Discoveries 2008 Top 10 2009 Favorite Discoveries 2009 Top 10 2010 Favorite Discoveries 2010 Top 10 2011 Top 10 2012 Top Ten 2013 Top Ten 2014 Top Ten Best Picture Winners Christian Spotlight on Entertainment Christianity Today Coming Soon Disclosure Disclosure--AS Disclosure--Book Disclosure--DVDS Disclosure--SEOL Disclosure--Travel Dissenting Opinion Elsewhere Emergenetics Essays Featured Film Fest DC--2014 Film Festivals Full Frame Documentary Film Festival 2010 Full Frame Documentary Film Festival 2011 Full Frame Documentary Film Festival 2012 Full Frame Documentary Film Festival 2013 Full Frame Documentary Film Festival 2014 Headline Interviews Laura on the Oscar Winners Podcasts Quick Impressions Reviews RiverRun Film Festival 2014 Television The Criterion Collection The Thin Place To Stream or Not to Stream? Top 10s and Other Lists Toronto International Film Festival 2009 Toronto International Film Festival 2010 Toronto International Film Festival 2011 Toronto International Film Festival 2012 Toronto International Film Festival 2013 Toronto International Film Festival 2014 Uncategorized Video Virginia Film Festival 2011 Virginia Film Festival 2013 Women's Film Festival 2012

Select a Month February 2016 January 2016 December 2015 November 2015 October 2015 September 2015 August 2015 July 2015 June 2015 May 2015 April 2015 March 2015 February 2015 January 2015 December 2014 November 2014 October 2014 September 2014 August 2014 July 2014 June 2014 May 2014 April 2014 March 2014 February 2014 January 2014 December 2013 November 2013 October 2013 September 2013 August 2013 July 2013 June 2013 May 2013 April 2013 March 2013 February 2013 January 2013 December 2012 November 2012 October 2012 September 2012 August 2012 July 2012 June 2012 May 2012 April 2012 March 2012 February 2012 January 2012 December 2011 November 2011 October 2011 September 2011 August 2011 July 2011 June 2011 May 2011 April 2011 March 2011 February 2011 January 2011 December 2010 November 2010 October 2010 September 2010 August 2010 July 2010 June 2010 May 2010 April 2010 March 2010 February 2010 January 2010 December 2009 November 2009 September 2009 August 2009 July 2009 June 2009 May 2009 April 2009

TAKE THE

Religious Wisdom Quiz

Which Christian holiday starts the new liturgical year in Western churches?

Select your answer to see how you score.

Lent Epiphany Easter Advent