this isn't the first time spielberg's evoked saul bass as an indication of what's in store, and i don't think it's incidental that the poster very specifically apes two saul bass posters for movies starring jimmy stewart (vertigo and anatomy of a murder). this could have very well been titled Mr Smith... er, Donovan Goes to Berlin.
this felt like spielberg's The Departed, which is to say it's watching a master doing riffs on the kind of stuff they loved watching as a kid. in scorsese's case it's an unrelenting homage to gangster/crime movies of old, rendered with a modern aesthetic but filled with anachronistic genre tropes and references to films of that era (most notably the mini-recreation of the ending of the third man, for no real reason other than to do it because he wanted to). it plays like a cinematic mix tape. bridge of spies operates on the same level, at least for me, and i kind of loved every minute of it. everything from the coens immaculate ear for hollywood golden age dialogue, to the wholesome morality and optimism at the expense of "realism" or complexity, to an overall charm that oozes a love of that era of hollwood filmmaking that, as a fan of those kinds of movies, i couldn't help but be betwitched by. i especially loved that it achieved this sense of classic hollwood film while still flaunting a modern technical prowess and sensibility.
the lens i viewed the film through is probably a bit of a stretch but it made for a very sating moviegoing experience.