Out There: DISCLOSURE DAY

Disclosure Day barely functions as legible paperback thriller plotting, but it is a feast for Steven Spielberg auteurists. It’s a layered work of visual thinking and thematic exploration that’s a buffet of recurring ideas and preoccupations from throughout his oeuvre. And all that plays out as a backdrop for a pretty flimsy central narrative. It makes the movie a totally fascinating experience, and a sometimes distancing one, an open-hearted intellectual and intuitive exercise keeping a chintzy chase picture afloat. Put simply: it’s a MacGuffin chase for stolen government secrets. (There’s also a magic stick, the properties of which shift for the needs of the plot.) The hidden truths within are as follows: aliens exist and the government is covering it up. That’s a little underwhelming after his Close Encounters' transcendent finale of music and science, and E.T.’s fleeting intergalactic friendship, and War of the Worlds’ harrowing invasion and biological protection. Spielberg’s been here before. In Disclosure Day, the characters are ideas. We have Josh O’Connor as a man with a backpack full of USBs containing leaked footage. He’s Technology: research, math, the hard facts. We have Emily Blunt as a TV weatherperson, usually reading the forecasts but now fearful as she finds herself becoming a conduit for brain-scrambling languages and interpersonal connection. She’s The Media: communication, empathy, the messenger. Together they make both halves of the whole message from outer space. They have to avoid the shadowy suit (Colin Firth) who doesn’t want the secrets out. He’s the System. To short-circuit his private army, our heroes need help along the way from another whistleblower (Colman Domingo) who’s orchestrating the big reveal. He’s building a simulacrum from which to trigger their latent memories. He’s Art. The chase also involves a lapsed nun (Eve Hewson). She’s Philosophy, Theology. “You haven’t lost your faith in God,” she’s told by a wise elder nun (Elizabeth Marvel). “You’ve lost your faith in people.” 

So it is that the movie’s about alienation in all senses of the word. It’s set in our modern world where we suspect that there’s more to the official story about most everything, but many aren’t convinced the truth will make a difference. It’s Spielberg spinning a metaphorical web so quickly and masterfully, with such a vivid mess of intentions and references, that it can’t help but skate over some yawning plot holes in the process. His fluid camera teases and traverses spaces, separates and joins perspectives, locked into who sees or knows what and when, easily slipping between perceived realities. It’s a movie that’ll be far too open-hearted for the incorrigible pedantic quibblers in the audience. Spielberg is using the raw materials of his most crowd-pleasing popcorn pictures to make something deep and strange. But it’s an honest movie, and one that risks silliness at most every turn. And, sure enough, the characters are flatly representational and all the running around doesn’t add up to much for which it’s worth investing. But in the high-gloss B-movie mess of it all, Spielberg’s really making a movie about the power of movies to show us what’s really important—a fiction that takes us to deeper truths. This one opens in media res with a smeary digital image—an elbow to the ribs from our master filmmaker—that’s immediately contextualized as diagetic camerawork at a cheap phony wrestling match. It’s a parodical muscle man in red and another in blue playacting conflict for a cheering, jeering, invested crowd. The real conflict happens in the shadow behind them—a confrontation between the leaker and the forces who wish to stomp out his message. 

The movie’s wandering chase sequences and flat exposition then build up to a finale that’s all about listening. It has some of his crisp cross-cutting and Movie Star awestruck gazes and some screens-within-screens of CG effects. But the emotionality rests entirely on a TV reporter played by Courtney Grace, a relatively unknown actress who pulls it off with astonishing work as she narrates for her audience through an array of heightened confusion, wonder, bewilderment, and context collapse. It’s a moving moment of processing the unimaginable in real time. It’s not so much about what she, and we, see in those moments. (What’s actually there teeters on the edge of silly cliche.) It’s about the human connection in that moment, bound together by something real, for once. Spielberg wants us to really listen, to understand each other. To hear a truth is the start of enlightenment. He believes it to the point of transcendence—math and art, mind and heart, The Fabelmans of his own making. It’s that reconciliation that breaks down our all-too-human isolation, between nations, between individuals, and within our own heads. He thinks we need to believe—in a higher power, in the potential to move beyond our selfish fears, in the transformative possibilities of witnessing together. He believes in cinema. He believes in UFOs. He wants to believe. He’s our greatest living filmmaker. His movies are usually airtight and precisely calibrated to function at a high level, on multiple levels, while pleasing crowds. This one dares to fall apart in personal, idiosyncratic moments that resolve in ways only Spielberg’s instincts could pull off. The real disclosure here is his own. 

The Man Who Went Into the Cold: BRIDGE OF SPIES

A powerfully humane legal drama, Steven Spielberg’s Bridge of Spies tells the story of James Donovan, an American lawyer who, at the height of the Cold War, was asked to defend an alleged Soviet spy. Donovan’s humble professional commitment to fairness, justice, the value of hard work, and the worth of all persons takes his case much further than he ever expected, into the halls of United States’ power and beyond, into shadowy negotiations between foreign powers. This causes much fear and prejudice directed towards him, his family’s doubts and worries about the stigma of providing legal aid to an enemy spy validated in the sneers he gets when recognized in public, and by the bullets shot through their front window by some angry concerned citizen. Even the cops responding to that frightening incident wear a how-could-you snarl.

This is a story that affirms with beautiful moral clarity aspirational bedrock American values, but not the sanctimonious sort used as smarmy stand-ins for greed, intolerance, and crypto-fascism. It’s a hopeful movie with Capra-esque ideals upheld and uplifted: kindness, compassion, empathy, and the willingness to do what good you can. Late in the film the lawyer, weary from his task, confides, “It’s not what other people think. It’s what you know you did.” We see Donovan as a man who values his logic and thinking, preparation and good judgment, tenaciously following his moral compass. Who else could embody those qualities but Tom Hanks? With every passing year his screen presence embodies more easy everyman paternal gravitas, the sort that used to be found in Lewis Stone’s Judge Hardy, vintage Atticus Finch, or evening newscasters. His projecting steady moral certitude goes a long way selling this earnest material.

Of course it also helps that Spielberg is a master filmmaker whose works are almost unfailingly absorbing and well crafted yarns. Here he’s taking talky scenes of legal process and tense negotiations and making them riveting. He has a script by Joel and Ethan Coen, masters of dry dialogue and complicated plotting, and the effect is watching great voices working seamlessly together. From a draft by Matt Charman, they’ve generously provided an unrelenting tick-tock pace and fluid crackling conversations. It’s a true story told with warm humor and disarming expressions of wit and character in every exchange, a lively and reverent story that’s as entertaining as it is moving. Donovan is a character who exudes decency, and who is generally a nice guy, stubborn only in his belief that even one person can make a difference. It’s amazing how much humor and suspense can be wrung out of good old plain niceness.

Spielberg opens with a great silent cat-and-mouse espionage sequence that introduces the Soviet spy (Mark Rylance, calm, sly, meticulous, droll, unknowable) as he’s captured. From there the film quickly sets up the trial, intercutting Americans abroad who are on a path to importance in the plot later on. Complicated geopolitical terrain and historical context are brought to life with immediate vivid clarity, while characters’ dynamics are established with wordless flickers of expression and clever blocking. The sharp dialogue is nonstop, and Spielberg knows his way around a scene, moving lightly and clearly through exposition, allowing clever turns of phrase to land with pleasing snaps. The storytelling economy is breathtaking, especially as a potentially muddled everyman-turns-LeCarre plot unspools with riveting precision and perfect focus. There are scenes with layers of subterfuge, where characters we’ve never met are, through smart placement of details, instantly understood to be putting on a show for the sake of spycraft.

For spycraft is what enters the film as the CIA understandably wants to use the captured spy for their own interests, using him as leverage in some high-stakes, top-secret Cold War negotiations. A wry handler (Scott Shepherd) ends up recruiting Donovan for the task as civilian middleman for the government’s offers, the better to disavow if it all goes wrong. This creates a complicated scenario in which Donovan is more prepared to follow the letter of the law than agents eager to punish the Russians in any way they can, and through which the layman can never be sure how much truth is being told by any other person he’s talking to, even and especially suspicious Soviet and East German agents (Mikhail Gorevoy and Sebastian Koch). The air is thick with Cold War paranoia as frigid and frosty as snow-swept Berlin streets. Spielberg has once again entrusted a film’s look to cinematographer Janusz Kaminski who here captures every bit of the uncertain situation and the sturdy man at its center in fluid camera movements and gorgeous textures, bathing grey areas in cold blue and white glow from every light source.

Spielberg and crew create a sympathetic political drama, attentive to actors’ movements and expressions in relation to one another with gentle precision. (His longtime editor Michael Kahn provides sharp cuts and meaningful juxtapositions, while accommodating unshowy one-take master shots.) It thoroughly humanizes every participant. We see little home life (though what we do is drawn in great shorthand by the likes of Amy Ryan and Eve Hewson), little of the men whose lives are being potentially traded by their governments. Instead, we’re to view people as the movie tells us Donovan does: as equally valuable human lives. Take, for instance, Rylance’s caught spy, who dryly assesses his plight, sees Donovan as an admirable advocate, and in the end emerges not as a martyred other or enemy combatant, but as a man, warm, pragmatic, and doing his best. We see in the faces of every man in a suit a person who’s juggling expectations of bosses and countries, who might be convinced to do what’s best through nothing more than the right smart argument.

Like so many of Spielberg’s historical dramas, Bridge of Spies puts his skill for crowd-pleasing spectacle to use illuminating sharp complicated ideas. In this case, hard-fought optimism emerges from clear and refreshing political resonances. It’d be difficult not to think of our gridlocked national discourse while watching a movie squarely situated on a talking cure, the value of compromise, of speaking with those you hate or distrust to find mutually agreeable ways forward. (It makes a fine pairing with his last film, Lincoln, in that regard.) Donovan realizes there are reasons to find fault with life behind the Iron Curtain, seeing fleeing Germans gunned down on the wall, knowing an American POW is tortured in interrogation that’s certainly “enhanced.” But still he insists the Americans treat their prisoner well, ensures a fair trial, and follows due process every step of the way. Hanks wears this American heroism in all its exhausting, modest, rewarding weight. The film is a deeply moving vision of a man doing the right thing in the face of seemingly insurmountable odds.