Some of you may be confused about the order of how I do each film of my Best Picture summary. It’s definitely not alphabetical. How I do it is in the order in which I saw the nominees. For example, I saw all the films in my first summary before Christmas. I saw La La Land on my father’s birthday, Fences the day after New Years, and Manchester By The Sea on the day of the Golden Globes. That explains why they’re the three films part of my next Best Picture summary.
LA LA LAND
We don’t see musicals on the big screen as often as we did back in the 60’s and 70’s. La La Land may not make the musical phenomenon come back but it is very entertaining.
We’re constantly reminded that bringing a musical to the big screen is a very tricky job. In the past 15 years, I’ve seen a lot of cases of musicals being put on the big screen– most of which are adaptations of Broadway musicals– and it’s always been a case of sink-or-swim. There have been those done successfully like Moulin Rouge, Chicago, Dreamgirls and Les Miserables. There have also been adaptations with bad results like Rent, Nine, The Phantom Of The Opera and Mamma Mia. It’s a very tricky job and it may explain why we don’t have musicals as frequent as in decades past.
Now try putting a fresh original musical on the big screen. That’s what writer/director Damien Chazelle does here in cooperation with composer Justin Hurwitz who was Chazelle’s Harvard classmate. The musical is a story we’re familiar with: boy meets girl, boy learns girl also has showbiz dreams, both boy and girl are supportive of each other’s dreams, boy and girl both have long bumpy roads to get to their successes, boy and girl both achieve their own successes but their love is put to the test. One could argue anyone could create a musical with that kind of premise. Whatever the situation, it would have to take a lot of hard work and a lot of brainstorming to make a very good musical out of this. In addition, it would have to have the right songs, the right singing moments and the right dancing moments to make it succeed.
Chazelle and Hurwitz succeed in pulling it off. The story is familiar but they deliver all the right moves in making the story and the songs of the musical work. It’s not just about making a common story work as a musical on screen but have it set in the modern times too. I’ll admit that opening in the movie where there’s a song-and-dance number on a jammed-up freeway was unexpected. It’s not just set in modern time but it also brings back a lot of the classic scenes of Hollywood; the Hollywood we’ve all come to know and love. I think that’s why La La Land comes off as a gem. Because it’s a reminder of the great musicals of the past and why we love them so much. It’s just that charm.
It’s not just up to Chazelle and Hurwitz to make this musical work but also the actors too. Both Ryan Gosling and Emma Stone had to make things work as well both as individuals and both as the couple Mia and Sebastian. They had to tell their own stories of love and passion for their crafts and the heartbreak they had to endure to achieve their dreams. They both also had to play a couple with the right chemistry to work. They pull it off excellently both as a couple and in their own individual moments too. The supporting actors/singers/dancers also had their parts to play too and add to the zest of the musical. Their own participation also added to the movie. Sure some of the bigger supporting performances from John Legend, J.K. Simmons and Tom Everett Scott lacked range–I mean Mia and Sebastian were the dominant focus of the musical– but they did very well too. The film did a very good job in terms of the use of sets both set up and various Los Angeles locations. The film even scouted out some ‘old L. A.’ locations to add the charm. That was not an easy find, I’m sure.
And now onto the songs. My father who likes musicals believes having a memorable song is what makes a musical a masterpiece. I have to agree. I’ll say I agree with him that there is no single song in La La Land destined to be a memorable classic. True, ‘City Of Stars’ is getting a ton of awards but I don’t think it will be a classic 20 years from now. Actually my favorite songs were the opener ‘Another Day Of Sun’ and ‘Audition (Here’s To The Ones Who Dream).’
It’s funny. Years ago, I jokes the unique thing about my father is that he’s straight and he likes musicals. He was quick to remind me that back when he was dating my mother, musicals were the ideal date movie. My how times have changed. What defines a date movie has changed as much over the decade as ‘real man’ standards.
La La Land may not have what it takes to bring the musical phenomenon back to the big screen but it’s winning in it’s own right. Anytime soon I’m expecting a stage adaptation of this.
Fences is a play by August Wilson that won raves when it first came out in the 1980’s. Denzel Washington brings Fences to the big screen at long last and the end result is something wonderful.
Fences is unique as a stage play. It’s a story about Troy Maxson: an African-American man in 1950’s Pittsburgh who makes like he has it together but he doesn’t. He thinks he could have been the next Jackie Robinson but feels racism kept him from moving out of the Negro League. He wants to mould his son the way he feels right and wants him to be better than him but doesn’t sense how harsh he is. He wants to be seen as a loving husband to his wife Rose but secrets of his infidelity are about to unfold. He gets an opportunity as a driver of a garbage truck–the first ever for a black man in Pittsburgh– but is reminded of his weaknesses when he accidentally signs for his brother to be admitted into a mental hospital. He has his own feelings about what should be right such as how he feels it’s better to raise his son right than like him only to see it backfire. I’ve heard some writers say that every African-American male has some aspect of Troy Maxson in them. Some people say that Troy Maxson is the African-American everyman. Some can even say Troy Maxson is the black Willy Loman. Whatever the situation, it was the toast of the 1987 Tony Awards and definitely made a legend out of scriptwriter August Wilson.
Now Wilson had always dreamed of bringing Fences to the big screen. I know one of the things he insisted on was that it be directed by an African-American. That may or may not have been the biggest obstacle but it was never realized in Wilson’s lifetime; he died in 2005. Hope was revived in 2013 when Denzel Washington expressed interest in bringing it to the big screen and star as Troy Maxson. Washington played Maxson in a Broadway revival in 2010. He’s even had experience as a director with 2002’s Antwone Fisher and 2007’s The Great Debaters. The production was realized early in 2016 when Washington was joined by producer Scott Rudin who also produced the 2010 revival. Viola Davis who was also part of the revival as Rose Maxson soon joined in along with other actors from the revival like Mykelti Williamson, Russell Hornsby and Stephen Henderson. One thing was that Washington wanted to remain true to Wilson’s own adaptation in respect to his work.
Now adapting a play to the big screen is as much a tricky challenge as bringing a musical to the big screen. It’s a matter of choices of what to include and what to keep as is. Theatre and film are two different formats of medium. Film scenes are numerous and can be set in an unlimited number of places in various amounts of time. Theatre scenes are often few, often quite lengthy, set in a limited number of places, and often consists of ‘moments of monologues.’ There’s even that 20-minute final scene in Fences where the family is getting ready for Troy’s funeral. Rarely in film do you have a scene after the death of the protagonist that’s even five minutes long. It’s a matter of making the adaptation work on the big screen. It’s also about what choices to add to the film adaptation and if they work. It was about choosing to add the scene of Troy and Jim Bono on the back of the garbage truck at the start. It was about including the scene without dialogue of Troy and Gabriel in the mental hospital. It was about keeping Alberta the mistress from being seen in the film in any which way.
Then there’s the acting. Of course it’s beneficial for most of the actors to have previous experience with the roles. However, it’s a known fact that stage acting and film acting have their differences. The biggest difference for film is that the audience expects a 100% believable performance, especially since it will be witnessed on a screen five-stories tall.
Overall I feel that Denzel Washington as a director/producer did a good job in adapting the play to the screen. It may not have the fast brief dialogues you get in your typical big screen fare but it was still done well and with the same truthfulness. The choices of what to add to the big screen adaptation were good choices, if not perfect. Denzel as an actor was definitely phenomenal in embodying the role of Troy in all of his triumphs and struggles. You could feel the pride and demons Troy was struggling with. Just as excellent is Viola Davis as Rose. The role of Rose was also a strong challenging role: a wife who appears happy and loving on the outside only to suddenly let out her hurt and inner wrath towards Troy and somehow come to peace with him upon his death. She does an excellent job of finally exposing Rose’s inner hurt and inner personal strength at the right times and even ending with believable delivery. The acting of the whole ensemble was very much there and as excellent as it can get. Of all the supporting performances, the one that stood out most was Stephen Henderson whose performance as Jim Bono came across as a common man at first but would soon come off as the man with a lot of wisdom and was able to see the good in Troy even while his terrible misdoings were being exposed. The ‘newcomers’ Jovan Adepo and Saniyya Sidney were also very good in their roles. Jovan especially did well as the son struggling to relate to Troy.
Fences is a triumph of a twelve year-old dream coming true. August Wilson dreamed it. Denzel achieved it. The end result is a masterpiece.
MANCHESTER BY THE SEA
Manchester By The Sea is a film that has been loaded with Oscar buzz ever since it made its debut at last year’s Sundance Film Festival. It’s easy to see why all the buzz.
The film presents a hurting person and showcases all the things that led to his hurt. It shows why he had to leave the town he always had as his home and why returning can’t be done. It shows why Lee Chandler comes across as a jerk in the present when he wasn’t like that at all years ago. The film is also about the relationship of Lee and Patrick. Rarely do we see a film about an uncle-nephew relationship. You think the relationship is something all of a sudden at first forced by something in his brother’s estate but it was always there even when the two were apart.
The film also presents a situation where healing or leaving the past behind is next-to-impossible. I’ve always believed people need to heal. It’s not right to hurt. I still believe it. However I can easily see how healing is very hard. You can see why it’s extremely hard for Lee to heal, especially upon returning to Manchester By The Sea, Massachusetts. His negligence that one night is why all three of his children were killed in that fire. The divorce from his wife Randi was bitter and she gave him hurtful words in the process. The town has not forgiven him for what he did: his name is still mud. Even moving to a suburb of Boston has not ended his hurt as he’s rude during his job and starts bar fights over the simplest thing.
The film does showcase Lee’s attempt to assimilate into the town and try to become the guardian to Patrick he hopes to be. The story does not water down as it exposes Lee’s failings. It also exposes how complicated the situation is as Patrick’s mother is a recovering alcoholic and still under strict control by her husband. It also shows how hard it is for Lee to forgive himself. Even as Randi says she’s forgiven him, Lee still can’t heal.
The story does not water down the situation or try to aim for the type of happier ending you’d get in a film like Arrival. The story does not end the way you hope it does. Nevertheless it does end with a ray of hope. Patrick is the closest relative to Lee. His parents and brother are gone and his other brother lives with his own family in Minnesota. Patrick is the one person in Manchester By The Sea outside of family friend George who doesn’t see Lee as this terrible person or rubs into Lee the tragedy he caused.
The film was not just about Lee trying to heal for Patrick but about Patrick too. Patrick is a teen with a lot of common ‘teenage make jerk’ traits like starting fights in hockey and cheating on girls but you know he has a naïve, innocent and even sensitive side and it comes out in his relationship with Lee that starts uneasy at first. Patrick still wants to live a normal teenage life by dating around, playing with his band, and talking about Star Trek with his friends, but you know he has feelings of hurt and frustration on the inside and you know they’ll come out eventually. For all the teenage jerk traits Patrick has, his respect for Lee is his best quality. Patrick could have easily come across as a rebellious teen and gone as far as calling Lee a ‘child killer’ but he doesn’t. Possibly it’s being Joe’s son that may be why Patrick is the person most forgiving to Lee now that Joe is gone. Joe was the one person willing to help Lee live life again after the tragedy and Patrick accompanied Lee and Joe during that time. You can see how Patrick adopted his father’s sensitivity to Lee.
The story of this film is definitely not a crowd-winner. You can understand why a film like this would rely on the Film Festival circuit to get its exposure and its chances of making it to the box office. Nevertheless it is an excellent story about loss, grief, hurt and an attempt at healing. The film fest circuit was the best way for a story like this to get a box office release. It’s good because it is a story worth seeing.
Writer/director Kenneth Lonergan delivers an excellent original story. Lonergan has few works writing and/or directing to his credit but they have a lot of merit: like Analyze This, You Can Count On Me and The Gangs Of New York. This is his best work to date. He delivers a story that’s honest and even brutal at times and doesn’t water down but doesn’t try to rip at your heartstrings too often. He also gives characters that are three-dimensional and will remind you of people or situations you may know about.
Actor Casey Affleck fit the role of Lee excellently. He captured Lee’s inner demons excellently and played them very truthfully. He was able to make you hate Lee at first but come to understand him later, even feel for him, and make you want the best to work out for Lee in the end. Also excellent was Lucas Hedges. Hedges’ role of Patrick grows in its complexity over time and he does an excellent job of it. The two together had to have the right chemistry to make an uncle-nephew relationship like this work and they had it.
The only other significant supporting role in the film is Michelle Williams as Randi. The various scenes as the typical wife before the tragedy to being the remarried ex-wife who healed better than Lee and wants to make peace with him is also a complex role too and she does an excellent job of it too. Actually the whole cast did an excellent job of acting and they delivered one of the best ensemble performances of the year. It’s not just the basics that made this film great. There’s also the cinematography from Jody Lee Lipes where she’s able to get some of the most picturesque shots of the east coast. There’s the editing of the story shifting from the present to the past back to the present on a constant basis at the right times. There’s the inclusion of dialogue at the right moments and even moments of dialogue muted at the right times where you just know what they’re saying. The muted parts work to the story’s advantage. There’s also the arrangement of music–original, classical and choral– that add to the story.
Manchester By The Sea may come across as a film that’s unwatchable if you take its premise at face value. In the end, it turns out to be a great story that’s worth seeing.
And there you go. That’s the second of my review of the nominees. One’s an original musical, one’s an original story and one’s an adaptation of a renowned stage play. All three make it obvious why they were nominated for Best Picture as all three have what it takes to be among the Top 10 films of the year.
Final Best Picture summary is expected to be up by Tuesday.
I don’t know about you but live-action comedies didn’t fare so well at the box office this summer. The highest-grossing comedy of the summer was Central Intelligence with just over $127 million. The only other two comedies of the summer to gross over $100 million were Ghostbusters and Bad Moms. Have people lost their sense of humor? For this summary, I will review two movies: Ghostbusters and The Nice Guys.
The Nice Guys
I’ll start the focus on one movie I saw all the way back in May. A comedy I was hoping to do well at the box office but didn’t. I saw The Nice Guys because I felt we were long overdue for a crime comedy or a police comedy. I have to say that this was a funny movie and has to be this year’s overlooked gem.
It takes us back to the 1970’s not just to do with the clothes, hair and music but also of a 70’s thing few 70’s-set movies focus on: the abundance of porn. We often forget that the 1970’s was the sexual revolution’s biggest heyday. A decade of free love at its freest and pornography was prevalent even in the movie theatres. It was even okay back then to take a date to a porno.
Here, they make a crime story set in the deliriousness of the porn business. It doesn’t aim for one-liners like so many other comedies resort to. What it does is it makes comedy of the situation. A case of a private eye and an enforcer who become unlikely partners in trying to solve a murder and who is connected to it. Another humorous situation is at the Los Angeles Auto Show where a clip of the porno starring the murder victim is spliced in to the auto show film to the shock of all. The story even has ironies added into it like how the Holly March, daughter of private eye Holland March, is able to help solve some part of the crime with her know-how. Another irony is how a politician who wants to have the crime solve is actually a part of the instrumentation. It all adds up to a humorous story that will have you laughing at the situation.
The film also gives you this summer’s biggest WTH moment. That comes when the police interrogate a neighborhood boy who showed his penis to a neighboring porn director who was killed. That’s sexual abuse, right? When I saw the interrogation happening, I was expecting a scene of a sexual abuse victim. Instead, the boy comes across as excited as if his exposing could open up opportunity in porn in the future. That was so bizarre. Just reminds you that the sexual revolution of the 1970’s was that free.
Director Shane Black takes a break from directing superhero movies like Iron Man 3 by directing this crime comedy he co-wrote with Anthony Bagarozzi. It comes off as very humorous in a dark way. I’d like to think he succeeded. Russell Crowe was the right fit for enforcer Jackson Healy. He possessed the right ruggedness for the role. Doing crime comedy is something new for Ryan Gosling but he did a very good job as Holland March. The scene-stealer was young actress Angourie Rice who played daughter Holly March. She did a good job of going just a simple daughter of Holland to all of a sudden one who can best help trace the case and even help solve it, with providing some action of her own. Also a big surprise is seeing Kim Basinger as the politician. I admit it. Like your typical 80’s kid, I always picture Kim as the bombshell she’s most famous for. It was surprising to see her play a role of an older character. I’m not complaining. I think she did quite well.
It is too bad to see that it didn’t make too much at the box office: $57.3 million. There was a time a while back where crime comedies or dark crime dramas were a big hit. I remember the 1990’s were capable of churning out one such movie per year that would be a classic like 1994’s Pulp Fiction, 1995’s The Usual Suspects, 1996’s Fargo and 1997’s L.A. Confidential. Since then, it cooled down. I was hoping this movie would revive some interest in it and rediscover the humor of the crime comedy. Also I feel there’s another message being sent with the lack of success of the film. The 70’s retro in movies has now faded. I know it was very active from the 90’s carried into the 2000’s and showed some muscle at the beginning of this decade but it’s obvious 70’s retro has faded with time.
The Nice Guys is an overlooked comedy from the summer. It’s worth seeing if you have the chance.
Ghostbusters: Answer The Call
From retro 70’s to retro 80’s: the retro phenomenon that still has the most muscle despite retro 90’s encroaching. Now news last year of a Ghostbusters remake featuring an all-female ensemble of Ghostbusters seemed unorthodox at the time. One conservative filmmaker went as far as saying ‘My childhood is ruined.’ However I was willing to give it a chance. I mean this is 2016.
In order to differentiate itself from the original 1984 Ghostbusters, it gave itself the subtitle Answer The Call. Now the big challenge was to decide whether the film was a case of the ghostbusters starting up together or whether these four women were filling the shoes of the men before them. It was decided to be a story where the ghostbusters start fresh. It’s very tempting to compare it to the first Ghostbusters. Actually there’s no escaping it. If you compare the two side-by-side, you will notice a lot of differences. And not just simply the change of genders of the cast. The first is the humor. The new film has humor and lines that are more irreverent that the humor and jokes in the first. The second is the Ghostbuster-wannabe characters. One thing about the first is that the addition of nerd Louis Tully added to the humor of the film. Of course Rick Moranis always specialized in nerdy characters. Having a bimboy character who’s their receptionist play the Ghostbuster wannabe here didn’t fit as well. Plus he wasn’t even that funny. Another is the possessed character scene. I’m sure those of you would agree that the possession of Dana Barrett worked better than the possession of Abby Yates. Even the line “No Dana, only Zuul.” is way more memorable.
Despite the first Ghostbusters being better than the new one in many ways, the second one does have elements that are better than in the first one. The first and most obvious is the better special effects. The film was able to create better and more eye-catching ghosts than they were in the first one. Computer technology has made that big of advances over the years. Another was the rock concert scene. If there was one plus to the movie, it was that where the foursome have to battle a ghost while a rock band was performing. That added to the humor and made it enjoyable.
It’s clear from the start this is a group effort between Paul Feig, Katie Dippold and Melissa McCarthy. This is the third collaboration with the threesome where Feig directs and co-writes, Dippold co-writes and McCarthy acts in. Its often questionable who was the main lead role of the film: whether it was Kristen Wiig’s Erin Gilbert or if it was Melissa McCarthy’s Abby Yates. I know McCarthy’s star has grown bigger over the years. The addition of two other Saturday Night Live talents Kate McKinnon and Leslie Jones make for a good mix of humor.
One thing to note is that personnel of the original Ghostbusters gladly came back for the revamp. There’s Ivan Reitman who’s the co-producer this time around. There’s Bill Murray who makes a cameo as a skeptic to the busters. Dan Aykroyd makes a cameo as a taxi driver, Annie Potts makes a cameo as a crabby hotel clerk, Ernie Hudson appears as Patty’s uncle Bill, even Sigourney Weaver makes a cameo appearance.
Ghostbusters: Answer The Call may not compare to the original. It’s either the freshness or the magic of the first that’s not there. Nevertheless it is enjoyable and does make for some good laughs.
And there’s my summary of the summer’s comedic movies with focus on the two. Hopefully the studios should be able to find the right funny stuff to get the live-action comedy back to being a summer hit next summer.
Surprise, this is a different kind of superhero story.
DISCLAIMER: I know this review is late. I’ll admit that this is a common thing of mine that right after the Oscars, I become too tired to do blogging for a while. So please excuse the lateness of my review.
Just before the Oscars were about to be awarded, I admit that I went to see Deadpool. All this buzz about an R-rated superhero movie and setting box office records for R-rated movies. I was tempted to see it. I’m glad I did.
Now I will admit that this was a big risk for Marvel to release an anti-hero movie especially since they’ve had many a comic book hero made legendary because of their movies. They have a reputation of delivering entertaining movies that win big at the box office and even give children, as well as kids at heart, heroes with positive messages.
Deadpool is something else. Actually Deadpool is not a made-for-the-movies anti-hero. Deadpool was created by a Marvel comics cartoonist back in 1991 for another comic series as a supervillain.However Deadpool’s popularity evolved over the years since. Yeah, like I said in my review of Straight Outta Compton, anti-heroes and jerk characters were all the rage in the 90’s more than any other decade.
The surprisingly mammoth success of Deadpool came as a surprise. I think it was a big success because Deadpool reminded us of our like of anti-authority jerks back in the 90’s. Gangsta rap may have had a lot to do with it but but it was like our thirst for jerk character after jerk character was unquenchable back then. Mind you Deadpool had to come at the right time in order for us to be won over by him. I felt that releasing a movie like Deadpool in February was a smart idea. The summer time is the time for superhero characters that are family-friendly. The ones that are meant to win the biggest movie crowds of the season. A February release was better because there’s not as much competition at the box office. And it paid off big-time with the first-ever February opening weekend of $100 million or more.
It should be no surprise that Ryan Reynolds was back as Deadpool for his first-ever feature-length film. It should be a fact that Reynolds was cast as Deadpool since he was described in a 2004 Marvel cartoon as ‘Ryan Reynolds morphed with a shar-pei.’ Reynolds himself even played Deadpool in a 2009 X-Men movie. Here Reynolds was funny as one of those hateable characters whom you actually end up liking for some dumb reason. Morena Baccarin was also good as Vanessa, the one person that can actually keep Wade’s head on his shoulders. Actually Vanessa’s love for Deadpool and her ability to bring him to his senses is what keeps him from being completely hateable.
Ed Skrein was good as the villain but came across as basic as your typical villain in popcorn movies with nothing that really stood out. Tim Miller did very good as a first-time director. Giving such a film like Deadpool to a first-time director could have been seen as a gamble for Marvel but Tim did things right. Writers Rhett Reese and Paul Wernick were not first-timers. In fact Deadpool is their third feature-length script. They do a very good job in giving the film the needed humor and sass for such a character like Deadpool.
Possibly the most surprising thing about Deadpool has to be its surprisingly huge box-office success. The $132.4 million it made in its opening weekend shattered opening weekend records for the month of February, the winter season and for R-rated movies. It also became the first ever R-rated movie to have an opening weekend of $100 million. As of now its $346.9 million makes it the third-highest grossing R-rated movie ever. The record is held by The Passion Of The Christ with $370.8 million. It’s possible it could break the record as it held onto #5 this past weekend in its sixth week of release.
Now there’s already talk about a Deadpool sequel. I’m not surprised about that given the success of the movie. There’s also been talk of more R-rated superhero films in the future. I will say that the box office success of Deadpool may fuel the desire to shell more of them out but Deadpool’s success is not a guarantee toward a new phenomenon of R-rated superhero movies. Sure, I was entertained by a smart-aleck wise-cracking anti-hero but I’ll bet if another one was shelled out, I’d be tired of them. I will admit this film does kind of remind us how we still have a liking for anti-heroes although not unlimited like it was in the 90’s. It’s not the case like back then when the jerk phenoms won us over but made everyone else who weren’t like them either look like a joke or look forgettable. Sure we may like an anti-hero like Deadpool but I’m sure by now, we prefer our jerk-characters and anti-heroes in doses. We can only appreciate so much nowadays. Besides Deadpool only made it look good to be an anti-hero for those two hours.
Deadpool is the surprise hit of the winter and the surprise of movies this year. It made having an anti-hero character look refreshing and even charming. However I don’t think it will start another anti-hero revolution again. Deadpool charmed us for those two hours but time will tell how much further he can charm us.
Bridge Of Spies is a Spielberg drama I missed out on seeing during its original theatrical release. I only saw it once it was a choice on a flight I took heading home. It was a good choice.
The film begins in 1957 with Rudolf Abel arrested by CIA agents as he’s trying to read a secret message. He is taken away but is able to keep the message. As Abel awaits trial, American lawyer James Donovan is assigned to defend him. The US government believes him to be a KGB spy but Donovan wants to have a fair trial because an unfair trial may be used as propaganda in the USSR. Donovan meets Abel whom is very welcoming to Donovan but will not cooperate with the US Government for any revelations in the intelligence world.
Donovan knows he has a heavy task in defending Abel. He’s serious about it but no one, not even his closest family, expects him to make a strong defense for Abel. Nevertheless Donovan is persistent and continues to seek acquittal for Abel despite an angry American public, persistent hate mail and threats on the lives of him and his family. Abel is found guilty on all charges. Before sentencing, Donovan asks the judge that Abel receive a prison sentence of 30 years instead of the death penalty because he feels Abel may become a bargaining chip with the Soviet Union. Further difficulties continue as Donovan is unable to win a Supreme Court case where evidence against Abel was tainted by an invalid search warrant.
Meanwhile two innocent Americans find themselves in the hands of Communists. One is US air force pilot Francis Powers whose plane is just shot down between the USSR-Turkish border. He’s able to escape his doomed plane and tries to steer his parachute into Turkey but fails and becomes captive. The other is Frederic Pryor, an American economics student studying in Germany just as the Berlin Wall is being built. He studies in West Berlin but has a girlfriend in East Berlin. He tried to bring her with him to the West but is arrested as a spy.
News gets to Donovan of the two men arrests. He’s even offered a deal from the USSR of the exchange of Abel for Powers. Donovan is insisting in a 2-for-1 deal of exchanging Abel for both Powers and Pryor. However he has the challenge of dealing with Soviet agents and a CIA that’s interested in only getting Powers back. The whole deal puts the governments of three nations– East Germany, the USA and the USSR– in a heated debate with Donovan make the outcome work out right. The end result is historic.
This is yet another film about war Steven Spielberg does focus on. There have been many films of the theme of war he’s done in his career. The wars he have depicted on screen have spanned time from World War II in Empire Of The Sun and Saving Private Ryan to World War I in The War Horse to the Civil War in Lincoln to even revenge missions in Munich.
Here he tackles a war that’s less about brutality but more about ideology and had victims of their own: the Cold War. Although there wasn’t as much blood shed, the Cold War did put a sense of paralyzing fear in the world, especially in the United States, with a possibility of nuclear war and armageddon. Thus the ‘duck and cover’ scene. Ask anyone over the age of 60 about doing all those ‘duck and cover’ practices at school. People were constantly being suspected as spies on both sides and there were reactions of hysteria to those accused of spying or treason. The construction of the Berlin Wall at a time when Germany was divided between the capitalist West and the Communist East is an example of the war.
The story takes us back to the 1950’s at a time when Cold War hysteria was at its highest. Neither side could be trusted if one from the other country came in to visit. That explains why even innocent visitors could be seen with suspicion. People arrested as spies for the other side were huge headline news. Most of the public wanted them dead with Julius and Ethel Rosenberg still fresh in their minds. It’s easy to see why someone like James Donovan would be so easily vilified by the American public and even face a possible shooting. The film shows why James’ efforts in the prisoner trade were necessary in the Cold War. It was something that was able to ease some tension on both sides.
Spielberg does a very good job of showing what the Cold War was like. Instead of showing fighting that’s common in the wars, he focuses on the more tense moments of the Cold War and captures its tense feel most people of that time felt. The screenwriting by Matt Charman and the Coen brothers was very good in providing insight to the moments in history and keeping the key elements of the situation. It didn’t focus too much on Jim’s personal life but it did focus on his efforts and even on the prisoners themselves. It may lack some historical accuracy but it does provide knowledge and keep the audience intrigued. Its one glitch is that it had too sweet of an ending. I don’t think it ended on the right note.
Tom Hanks was very good as Jim Donovan but it’s not at the same level as his most stellar roles. The biggest scene-stealer of the film was Mark Rylance as Rudolf Abel. He not only matched Abel physically but also gave him character with his love for art and his ability to say persuasive things. Other good supporting performances came from Amy Ryan as Jim’s wife and Alan Alda as Thomas Watters. Janusz Kaminski did a very good job of cinematography, the production designers did a very good job of recreating the 1950’s and 1960’s with their sets and Thomas Newman delivered a very good score to the film.
Bridge Of Spies is very much a story about a lawyer and his pursuits but also the times he had to deal with. Reminds you of some of the political tensions and paranoia that’s currently happening now. Spielberg does a good job of capturing the feel of the intensity as well as the political climate of the story.