Sully: Miracle on the Hudson has a certain Frank Capra quality to it.
To be fair, a lot of that comes from the casting of Tom Hanks in the title role. Hanks radiates a certain ineffable integrity, a “Hanksian Decency” that informs his performances in films as diverse as Bridge of Spies and Inferno. It is tempting to think of him as “America’s Dad”, particularly given the grey hair and the moustache that he donned for the title role here. However, it is also tempting to think of him as a latter-day Jimmy Stewart, the embodiment of a certain type of fundamental American decency that lends itself to this sort of narrative.
Similarly, director Clint Eastwood has a similar philosophy. Eastwood’s films tend to be organised around strong moral principles. Often those principles are articulated in terms of personal responsibility, particularly the responsibility that individuals have for others whether in a professional capacity (J. Edgar) or a personal capacity (Million Dollar Baby) or simply by virtue of being there (Gran Torino). Eastwood’s recurring fascination with individual responsibility makes him a quintessentially American director.
This combination is ideally suited to Sully, which is constructed as something akin to a modern-day American fairytale.