The Post (2017)

<strong class="MovieTitle">The Post</strong> (2017)

(On Cable TV, October 2018) There’s something quietly amazing in how Steven Spielberg, now that he has mastered the filmic form, can go from wide-screen spectacle to a far more restrained drama and deliver said smaller movie in the time it takes for the bigger movie to complete post-production. As the story goes, Spielberg read The Post’s script in February 2017, started shooting in May, wrapped up editing in November and the film made it to theatres in time for the December Oscar season—all the while blockbuster Ready Player One underwent post-production and release. That’s ludicrously fast, but you can understand the urgency while watching the film. After all, The Post is a full-throated defence of the power of a free and independent press unafraid to aim for the biggest targets—something very much needed considering the authoritarian behaviour of the current American administration. It specifically tackles the story of the Pentagon Papers, and specifically the decision of The Washington Post to publish from the papers at a time when it wasn’t clear if this was an illegal act. You know how it’s going to end, but the script wisely focuses on then-new owner Katharine Graham as she wrestles with the decision to publish, balancing legal and business exposure with journalistic duty. With Meryl Streep playing Graham and Tom Hanks as the legendary Ben Bradlee, Spielberg can rely on screen legends to deliver the drama, and the film is never quite as good as when it features characters batting around big ideas as they relate to their current situation. It’s an inspiring film, perhaps a bit too rearranged to suit dramatic requirements but not outrageously so. Spielberg’s direction remains satisfying even when there are no car chases, supernatural creatures or fantastic landscapes to behold—this is one of his tight dramatic films that would have been released straight to video had it not featured his producing and directing skills. The Post also explicitly positions itself as a prequel to All the President’s Men and generally sustains the scrutiny created by the association. I’d call it essential viewing in these troubled, often truth-alternative times, but I fear that the only people willing to watch the film are those already convinced of its righteousness.

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