Catch Me If You Can and Late Spielberg
In fifty years of filmmaking, Steven Spielberg has consistently looked at themes of innocence, adventure, and discovery through his tirelessly optimistic worldview. It has resulted in transcendent American classics such as Jaws and Raiders of the Lost Ark. His work in the early section of the 21st century is arguably the most consistent and intriguing of his career. A.I. and Minority Report were dystopian sci-fi visions that dealt with existential themes of existence and free will. After these films came the breezy story of con-man Frank Abagnale in Catch Me If You Can. It may not be the best or most important of late-era Spielberg, but it shows the King of Hollywood as a skillful craftsman. It is emblematic of his career up to that point and points to its next chapter.
At the end of the 1990s, Spielberg was coming off some of the biggest critical and commercial successes of his career. Jurassic Park was at the time, the highest grossing film ever made. Schindler’s List, released in the same year, and Saving Private Ryan were met with instant acclaim. However, Spielberg’s first film of the new century, A.I. Artificial Intelligence was met with critical trepidation. The ever prolific filmmaker would release two more films in the next year, including Catch Me If You Can. Set in the 1960s, the film relays the story of Frank Abagnale Jr., played by Leonardo DiCaprio, who managed to con millions of dollars, while impersonating a pilot, doctor, and lawyer, all before his 19th birthday. Hot on his trail is dedicated FBI agent, Carl Hanratty, played by recurrent Spielberg collaborator Tom Hanks. Abagnale’ s backstory is of particular interest as his father (Christopher Walken) is also somewhat of a con-artist, attempting to use charm and some deceit, in order to avoid his problems with the IRS. When he is pressured by his parents during their divorce,he runs away from home and begins impersonating a pilot. There is excitement in watching Abagnale’s early success, as well as watching his cons become more elaborate such as impersonating a doctor and becoming engaged to a nurse taking the state bar exam in order to appease her father.
Spielberg’s usual collaborators behind the camera return for this film: Janusz Kaminski is the director of photography, Michael Kahn edits, and John Williams delivers another rousing score. The film contains themes and motifs characteristic of Spielberg. Abagnale is another innocent and naive character threatened by the darkness of reality. There is also an element of nostalgia in the 1960s setting, showcased through the loving portrayal of a bygone era in air travel. As previously mentioned, this is not a major Spielberg film. It lacks the thought provoking visions found in A.I. and Minority Report. It is not as powerful as some of Spielberg’s other portraits of history. However, it presents how he had mastered his craft. The film has true technical brilliance and fluid camerawork helped by beautiful cinematography courtesy of Kaminski. It contains the hopeful look at human nature that defines Spielberg’s filmmaking. It presents just how much Tom Hanks and Spielberg are a natural fit. Finally, Catch Me If You Can points to where Spielberg was going as most of his future films again portrayed moments of history with his own trademark empathy.
Catch Me If You Can is streaming on Netflix.
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