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Bridges in Film – Historic Bridge Foundation. By Chale Nafus. Introduction (Part 1)A woman stands on a Parisian bridge drawn to the dark nighttime waters below. A man casts his wallet and identity into the river flowing beneath a Louisiana bridge. Opposing armies fight a long, deadly battle over a vital bridge in Holland.

A gigantic sea monster, spawn of nuclear radiation, dismantles a landmark bridge. Two strangers meet on a bridge and begin a lifelong romance. A car crashes through the railing of a bridge, destroying a politician’s career as his young friend drowns. Bridges have served cinema well for the past century by providing dramatic settings for poignant moments. Rarely does a movie character just cross a bridge to get to the other side. Instead, the passage over a bridge often signifies some kind of change—a transition into a new phase of life, connection with a new person, or confrontation with danger or even death. On a grander scale bridges have been used in films to represent the expansion of empires or conflicts over territory during wartime.

In a few films building bridges has been shown to be a type of dangerous, exciting work or a means of amassing a fortune. Socio- economic themes have been explored in films by depicting characters who live near, under, or even, in one case, on a bridge.

In several films bridges have served as cultural barriers which characters feel incapable of breaking through. And then of course many bridges appear in movies just because they can be so beautiful in varying weather, night or day. Throughout world cultures and history, the bridge has served as a useful metaphor for the rites of passage: birth, puberty, marriage, governance, mystical ecstasy, and death. Folktales and rituals sometimes incorporate the motif of the bridge, which is defined as a dangerous passageway, similar to the necessary terrors of rites of passage.

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But such a death is meant to be a destruction of the previous, less enlightened self. To cross the bridge, the initiate must break with the past in order to move on to the next stage of his/her journey. Once on “the other side” of the ritual, the initiate is “born again.” (Mircea Eliade, The Sacred and the Profane: the Nature of Religion.) Thus, the image of the bridge is an essential element in the human psyche and consequently has appeared in a wide variety of films. A list of nearly 3. This essay is based on viewing many of those films available on video/DVD or the Library of Congress website of early documentaries.

For those unavailable in either video or DVD format, I have relied on the descriptions written by other viewers, mainly found on the Internet Movie Database. This is not intended to be an exhaustive study of the topic of bridges in the cinema, but it hopefully will serve as a provocation for further exploration, thought, and disagreement. I have classified the films under the major headings that emerged as I watched the films and began to see both similarities and differences in the ways that bridges were employed in the stories. Each major heading has a number of subheadings. There are doubtlessly other ways of grouping the films. Occasionally the use of bridges in a particular film was so varied that I have discussed different elements in the storyline under several headings.

Bridge as a Transition to a New Life (Part 2)Bridges have become associated with danger, death, or evil across the history of cinema. Psychologically the walkway or road over empty space fills us with dread and uncertainty. Long ago, there must have been some trepidation in bypassing the gods and closing a natural gap over a river or valley. Except for those natural bridges of fallen trees or a perfect series of stepping- stones in a brook, a bridge is “unnatural” and perhaps hateful in the eyes of the gods. However, there is a concurrent tradition of the metaphorical “crossing a bridge,” bringing positive or hopeful change into one’s life. Several films have exploited this more optimistic view of bridges as transitions to a new way of being. In The Apostle (US, 1.

Euliss “Sonny” Dewey, a hell- fire evangelist from Texas, walks across a rusty steel bridge over a Louisiana bayou and tosses his wallet into the water. He needs to escape his previous identity as a successful preacher and the probable murderer of his wife’s lover. Before he steps onto the bridge, he sinks his “big ole Lincoln- Continental” car with its “Sonny” license plates into the bayou.

When he crosses the bridge, he humbly places his life and future into the hands of his God. These are his first steps toward becoming “the Apostle E. F.” On the other side of the bridge, he tells a kind- hearted, but wisely suspicious fisherman, “I am on my journey.” That journey leads him into the lives and hearts of several handfuls of economically poor people and grants him a deeper understanding of love and a complete redemption through his creation of a humble but vibrant church. While The Apostle places its metaphoric bridge scene early in the film, No Looking Back (US, 1.

Claudia is a waitress in a one- way working class town on the Atlantic coast, most likely New Jersey. The streets are dreary, cold, wet, and depressing. There are two men in Claudia’s life, neither of whom can offer her much.

Michael provides love and a home of sorts, while Charlie, who ran away once already, can only dangle hopes of going off somewhere together—Florida, Las Vegas, or Texas most likely. Claudia finally decides to strike out on her own, just like her father long before. The final shot shows her car coming over a bridge, the one leading out of town. Her car veers to left- of- screen and disappears as the final credits begin to roll.

Even with this poorly conceived shot—we should have seen the back of the car going over the bridge and away from the town and the two men—it’s obvious that the bridge symbolizes a connection to a new life with unexplored possibilities. We know where Sonny’s bridge led in The Apostle. Watch Nineteen Eighty-Four Online Hulu. We can only hope that Claudia’s bridge takes her to a more fulfilling life and better relationships than the ones offered by her hometown. Crossing one of the many bridges in Sergio Leone’s epic Western, The Good, the Bad, and the Ugly (Italy, 1. Tuco (“The Ugly”) is a man returned from the dead.

Left in the desert without water by “The Good” (Clint Eastwood), Tuco manages to survive and stumbles over a swinging rope- and- board bridge above a dry gulch outside a rickety frontier town. He was supposed to die, but now he can pursue his evil life with even more anger, hatred, and ardor. His journey is so different from Sonny’s and will not lead to redemption or love. The best he can hope for are sacks of gold. In short, his transition has been from near- death back to life, but rather than learning from such a profound experience, he continues on his original journey. Using a bridge to mark a different kind of life transition, director Richard Linklater sends three of his 1.

Austin bridge in Slacker (US, 1. One guy, who has just lost his girlfriend because of her infidelity, is persuaded/forced by a friend to discard the two items that remind him most of the betraying woman. First to be tossed over the side of the bridge into the creek is the tent in which he made love to her. Discarding this mass of green cloth will insure she will never sully his beautiful memory by using the tent for another sexual encounter with someone else. Next comes the typewriter, whose connection to the lover is more tenuous.

The betrayed fellow can’t bring himself to waste a “perfectly good typewriter,” so the pushy friend grabs the machine and hurls it over the edge. To finish the exorcism, the “friend” reads a passage from James Joyce’s Ulysses about the infidelity of Leopold’s wife. The scene in Slacker makes one wonder if the purging is for the recently betrayed young man or for the “friend,” who lost his girl friend six months before.