During the Cold War, an American lawyer is recruited to defend an arrested Soviet spy in court, and then help the CIA facilitate an exchange of the spy for the Soviet captured American U2 spy plane pilot, Francis Gary Powers.
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As the American Civil War continues to rage, America's president struggles with continuing carnage on the battlefield as he fights with many inside his own cabinet on the decision to emancipate the slaves.
Navy S.E.A.L. sniper Chris Kyle's pinpoint accuracy saves countless lives on the battlefield and turns him into a legend. Back home to his wife and kids after four tours of duty, however, Chris finds that it is the war he can't leave behind.
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In the cold war, a lawyer, James B. Donovan is recruited by the CIA and involved in an intense negotiation mission to release and exchange a CIA U-2 spy-plane pilot, Francis G. Powers. The pilot was arrested alive after his plane was shot down by the Soviet Union during a mission and stays in the company of a KGB intelligence officer, Rudolf Abel, who was arrested for espionage in the US.Written by
The fevered years of the Cold War, a war that involved information, not combat, was a war where words were the ultimate weapon. It was a time when anti-Communist propaganda, "Duck and Cover" educational videos, and the media's sensationalist coverage of events like the Rosenberg trial bred fear and hatred across the country . . . . hatred stemming from fear of the unknown. No one was safe, and it was an especially dangerous time to be in the headlines for defending a Russian spy...A dramatic thriller set against the backdrop of a series of historic events, "Bridge of Spies" is the story of James B. Donovan played by Tom Hanks, an insurance claims lawyer from Brooklyn who finds himself thrust into the center of the Cold War when the CIA enlists his support to negotiate the release of a captured American U-2 pilot. See more »
When Abel is painting his self-portrait, he is carefully studying the reflection of his left profile in the mirror (i.e. he is looking slightly right). However he has actually painted himself looking left. He is also wearing a different color shirt (but this could be explained by the fact that Abel would most likely have painted the portrait over several days). See more »
Best that this all remains confidential. Let's not discuss any of this with Mary or with anyone else. Share the correspondence only with us. Let us know what they want to do and when.
I've got no client, no wife, no country. Don't know what I'm doing or when - or who for.
You're doing it for your country, but your country doesn't know that yet.
What about my client, the other person in this equation? My guy.
Your guy? You mean the Russian? He's not your guy anymore, Counselor. Your guy is ...
[...] See more »
"And the Best Supporting Actor Oscar goes to... Mark Rylance"
There are combinations of film makers that make you confident, as you pay your ticket price, that you are not going to be terribly disappointed: Steven Spielberg directing; Tom Hanks taking the lead; Janusz Kaminski behind the camera; Michael Kahn editing and a Coen brothers script (with Matt Charmon (Suite Française)). And Bridge of Spies doesn't disappoint, particularly for someone of my more advanced years (I was born the year following the film's climatic events) who remembers well the terror of potential nuclear catastrophe that hung over the world through the 60's and 70's.
In a story based on true events, Hanks plays James Donovan (diverging somewhat from reality here) as an insurance lawyer dragged by his firm into defending Rudolf Abel, the accused Soviet spy played exquisitely by British stage acting legend Mark Rylance. Against this backdrop, the international blue touch paper is about to be lit by the shooting down over Russia of Gary Powers (Austin Stowell from "Whiplash") in his U-2 spy plane (sorry – "article"). Donovan becomes instrumental in unofficially negotiating on behalf of the US government the release of Powers in East Berlin. The deal is jeopardized by his boy-scout tendencies to also want to help another US captive Frederic Pryor (Will Rogers).
I've read some negative reviews of this film in the papers that made me quite cross, describing it as "yawnsome" and "sanctimoniously dull". For me, nothing could be further from the truth and the packed Saturday night audience I saw this with seemed equally gripped from beginning to end, silent save for the odd laugh where some appropriate humor is weaved into the story.
Tom Hanks is solid and believable as the fish-out-of-water lawyer, albeit that the role is played with a large spoonful of patriotic American sugar as Donovan trumpets about the importance of the constitution over the lynch-mob mentality of the general public. Alan Alda – great to see again on the big screen – channels his best Hawkeye-style exasperation as Donovan's boss, looking for a clean and quick conviction.
But it is Mark Rylance – an irregular player in movies, and due to appear again in next year's "BFG" – who shines out as the acting star of the film. His salubrious and calm turn as the cornered spy just reeks of class and if he isn't nominated for a Best Supporting Actor nomination for this then there is no justice. (A special 'casting recognition award' to my wife Sue for spotting that the actress playing Judge Byer's wife – Le Clanché du Rand – was Meg Ryan's mother in Sleepless in Seattle 22 years ago!)
The cinematography is superb with some gorgeous tracking shots and framed scenes. Most outstanding of all is the scene depicting the traumatic construction of the Berlin wall – long tracking shots in greys and blues delivering a truly breathtaking piece of cinema. In general I'd give a big shout-out to both the art department and the special effects team in making the desolation of East Berlin feel so real. It makes the similar scenes, that I commented positively on in the recent "Man from U.N.C.L.E." seem like an amateur school production.
The special effects team also contribute in making the shooting down of the U-2 a thrilling piece of cinema.
Music is sparingly and effectively used by Thomas Newman, and it can be no greater complement to the composer than that I was wondering until the end titles as to whether it was another Spielberg/ John Williams collaboration or not.
A great film, one of my favorites this year. Highly recommended, especially if you are over 50. You should also get out to a cinema to see this one – it will be far more effective on the big screen than the small one.
(Please visit http://bob-the-movie-man.com for the graphical version of this review. Thanks.)
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