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Most other scenes are dulled to browns and grays, perhaps a subtle sign that Moe, too, must dull his shine to fit in with those around him. He got it in his head that Moe is gay, so he follows him one night and waits outside a gay bar, its neon pink sign one of the few sources of vibrant colors in this film. He’s so close to closing out his catcher career, which is good for everyone in light of his failing knees, but the team’s new rookie player is suspicious. From there, we flash back eight years to watch Moe as a ball player. He has to go find Werner at a party and kill him, but once the two lock eyes, there’s a sense that Werner knows him - or, at least, recognizes him. Moe (Rudd), spotted in Switzerland, is all dolled up and snazzy, with the exception of the pistol he’s cocking and tucking away in his suit. The real sadness here, given the complexity of this film’s unlikely hero, Morris “Moe” Berg, is that The Catcher Was a Spy isn’t as memorable or unique when put against the war film genre it’s channeling.
GAY BAR SEX SPY MOVIE
It’s the kind of movie where an unlikely hero, typically reserved for a Tom Hanks or a Benedict Cumberbatch during awards season, ends up changing the course of history. It’s the kind of movie where citrine lamp lights desaturate an already misty night, the same sort of color palette for Fury or Bridge of Spies or The Imitation Game.
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Instead, it’s the kind of movie where government operatives like to don herringbone suits and fedoras to conspire in the shadows of shady cobblestone streets. It isn’t what Lewin seems to be going for, despite presence of Ant-Man’s Paul Rudd. The thing is, The Catcher Was a Spy isn’t as fun as that logline makes it sound. Can’t you just imagine the likes of Drew Droege or Tiffany Haddish narrating this one, while slurring the phrase Office of Strategic Services? So America sent a Jewish baseball player for the Boston Red Sox - who also frequents gay bars on the down low - to assassinate the Nazis’ physicist, Werner Heisenberg. is worried that Germany might have the means to craft an atom bomb. The opening title cards for The Catcher Was a Spy, directed by Please Stand By’s Ben Lewin, lays out a plot tailor-made for something like Drunk History: It’s the year 1944 and the O.S.S.