Steven Spielberg’s latest film of 2015, Bridge of Spies. It is a splendid depiction of the Intel war between the U.S. government and the Communist Soviets. Within the large plot, the story lies in a particular human exchange. A spy for a spy. The American and the Russian, where both of them were held custody in opposite countries. In the constitutional stance, every defendant requires a lawyer. The need to protect the basic human rights, even he is the enemy of the state, lies in the hands of his trusted lawyer. As the lead actor, the U.S. lawyer, succeeds in securing his rights, he gets torn apart in the justice line of fire. The angered public on this issue of betrayal of his countrymen, but as the plot thickens, it tells a different story.
Now, who would better headhunt the leading acting role? That is right. He is non other than Tom Hanks. It is of no surprise of the collaboration between the 2 of them. Previous collaborations includes the Oscar-winning film, “Saving Private Ryan” and the HBO award-winning drama series, “Band of Brothers”. Both of them achieved commercial and critical success, and I think it will be of no exception for “Bridge of Spies”.
Less action, less CGI. More dialogue, more precision acting.
We all know Spielberg is the master of suspense, that is of no deny. The first scene jumps straight into a script-less portray of the Russian spy, his daily espionage and the way of concealing himself as a spy. He uses light in most scenes to great effect. Dim lights, morning lights shining through the window and the source of light. It brought much depth and juncture when the scene was shot. He focuses on dialogues heavily, from a wide angle shot to a close up shot in one reel, he lets you in slowly from the surroundings of the environment and he stops the take when the content of the dialogue is important or is finished. What I really appreciate this film a lot, are the scenes of reenact-ion of past history. The 1960’s era. The amount of detail he puts into a building, a house, a person, even sentiments, just incredible. It may not be as huge as “The Schindler’s list”, still it considers a minor but in aeon quality.
Also, he uses symmetry in some parts of the scenes and subjects as a focal point of interaction. A person to another person. The downside about this film is its CGI, in an eagle’s eye, it’s probable to say, “Oh, it’s fake.” Maybe one has a different preference of the standards of a CGI scene, but on a consumer’s level, it is still a safe breeze.
As years go by, Spielberg’s way of directing has evolved to suit the modern satisfaction of the masses, and also the critics. He reminds me of another venerable, brilliant director, Martin Scorsese. Never one to disappoint.
P.S. Reading this catch next week.