Bridge Of Spies

Bridge Of Spies is a historical drama 'inspired by true events' which tells the story of a spy swap during the Cold War. It sees Steven Spielberg in collaboration with the Coen Brothers in collaboration with Walt Disney. Quite a combination.

In Brooklyn in 1957, Rudolf Abel (Mark Rylance) is arrested under the suspicion of being a Soviet spy. James Donovan (Tom Hanks) is a mere insurance lawyer who is asked to defend Abel in order to show the world that the American justice system is just and fair, even though the public have already convicted him.

Donovan may be defending the most hated man in America but he wants to do right thing, legally, by his client. That isn’t easy when even the judge has already reached his decision.

When Abel is convicted Donovan has the foresight to persuade the judge not to send him to his death. He foresees a time when having a Soviet spy in your jails could be useful.

Donovan is vindicated when an American U-2 spy plane is shot down over Soviet territory and the pilot, Francis Gary Powers (Austin Stowell), fails to destroy both the plane and himself, as ordered. The Soviets capture Powers, convict him as a spy, and send him to prison.

When the Soviets get in touch with Donovan, he is sent out to East Berlin to negotiate a prisoner exchange. This he has to do as a private citizen rather than an American official. Any deal is further complicated by Donovan’s wish to also release another US prisoner, a student called Frederic Pryor (Will Rogers).  

Overall it is pretty good film if you can cope with the large dose of American patriotism that it comes served with. Patriotism that attempts to paint the East Germans as clowns which I'm sure they weren't. There’s also the totally over the top (and unnecessarily so) crash scene of the U-2. This is the only nod to your typical Hollywood action movie which this thankfully isn’t. The rest of the two hours is mercifully free of any other such gimmicks.

The film seems to be largely historically accurate and the cinematography is fabulous with some great scenes of cold war Berlin such as the construction of the Berlin Wall, Checkpoint Charlie etc.

Tom Hanks is solid as Donovan but it is Mark Rylance who shines out as the star of the film. His understated performance as Rudolf Abel is pure class.

‘Bridge of Spies’ shows that the power of a good story can still stand up on its own even in modern day Hollywood.

War Horse

‘War Horse’ is a children's book by Michael Morpurgo that I wasn’t really aware of until recently. I’m assured it’s a cracking book and that there’s also a rather good stage production of it using life-sized horse puppets. That’s perhaps where it should have stayed.

It appears to be a fanciful tale that perhaps works in those formats, perhaps a cartoon would have worked also but here, where Steven Spielberg tries to tell it as a real story on film, it fails spectacularly.

Yeah it’s got great, well actually overdone, cinematography, loads of dramatic music and an able cast. Sadly they are all asked to play clichéd stereotypes and to work with a script that asks you to suspend belief at the cinema door. Welcome to the equine offspring of a one night stand between ‘Lassie Come Home’ and ‘Saving Private Ryan’.

Now I've never trained a horse, but I've trained dogs and simply whispering in their ears what you want them to do doesn’t work. I'll go out on a limb here and suggest that it doesn't work with horses either but I suppose I could be wrong.

Then the way the bone hard rock strewn field suddenly becomes ploughable to a foot depth after five minutes of rain was hilarious, almost as hilarious as the plough itself splitting a large rock in two. Again I’m no expert but surely it would be basic farming practice to remove as many of the rocks as possible before you attempt to plough the field? Therefore not making it as hard as possible for your horse, even if that horse does happen to be Joey the wonder horse? The story doesn’t get any less ridiculous from there onwards, very little of it made any sense at all.

Sorry I’m skipping the actual plot here. Farmer Narracott (Peter Mullan), a Boer war veteran (he doesn’t talk about it), buys a thoroughbred horse at a Devon cattle market rather than the usual type of nag you’d use to plough a field with and he uses the family’s rent money to do so. Oops. Commonsense bypass. His missus, Emily Watson, with her brow permanently furrowed (unlike their field) isn’t happy. Cue yet more furrowing of brow. No matter, their teenage son Albert (Jeremy Irvine), occasionally called Albie, trains him, hence the whispering. He names our hero Joey.

Well the field gets ploughed and the crops get sown but then they all destroyed by another freak storm, not unlike the one that got the field ploughed in the first place. Joey gets sold to a captain in the British cavalry (Tom Hiddleston) for use in a suicidal WWI military manoeuvre, so that the rent can be paid.

Once the cavalry have all been slaughtered, Joey ends up in the hands of the Germans where he is cared for by two young brothers, one of whom is only 14 but then presumably after having lied about his age to get in the German army, the pair of them inexplicably decide to desert using the horses to escape. They are captured and shot. Good riddance.

Joey and another horse are now in the hands of a sickly young French girl called Emilie. We only know she’s French because she calls her grandfather ‘grand père’ in a terrible French accent. Joey is only briefly in these pseudo-French hands because soon a group of soldiers with equally bad German accents snatch the horses back. A bit of real foreign language dialogue here would have added a much needed touch of reality and clarity to the proceedings because it’s anybody’s guess what language the ensuing German-French conversation takes place in.

Now Joey the wonder horse visits the Somme circa 1918, where he escapes from the retreating Germans and goes for a gallop across no man’s land, running straight through at least two barbed wire fences... er, no, terribly unlikely. Finally entangled in the wire we get the one great scene of the film as a British and German soldier team up to cut him free from the barbed wire.

Back in the hands of the Brits, Joey is about to be shot because he’s too damaged to save when Albert, himself now fighting and subsequently wounded in the war, recognises his beloved Joey. Quickly the armistice is declared, yet Albert and Joey, suddenly in perfect health again, are set to be parted once more because all the horses are to be auctioned off.

Grand père turns up out of the blue and outbids everyone for the horse, wanting Joey in memory of his granddaughter who has since died. Blimey, ten minutes ago she looked as strong as, well, a horse. Still, it’s a relief of sorts because my partner suspected that she'd resurface later as romantic interest for our Albie. Phew.

I don’t feel guilty spoiling the plot and saying that it all turns out ok in the end because you’d know that from the off. It’s all so inevitable. The more interesting back story was whether Albert's father’s Boer war pennant, which accompanied Joey the whole time, would make it home safely. Thankfully it did.

In the book Joey actually narrates the story (it probably worked better that way around) and it would have been nice for the horse to have said something like ‘That’s All Folks’ at the end to complete the charade but sadly it didn't.

It is, I think, supposed to be a tear jerker and my partner may have shed a few at some point but then she cries in most things and it’s hard not to cry for the horse for putting up with the corny script. Surprisingly the usually able Richard Curtis worked on it. He does reuse what he can from ‘Black Adder Goes Forth’ but even that doesn’t save the film.

I was originally going to say it’s an ok but not great film but the more I think about it, the more terrible it seems. Frankly it was awful, apart from the horse that is, who to be fair, was great, nay, terrific and acts everyone else off the screen. Give that stallion an Oscar and send the rest of them back to the trenches.