MOVIE REVIEWS |
INTERVIEWS |
YOUTUBE |
NEWS
|
EDITORIALS | EVENTS |
AUDIO |
ESSAYS |
ARCHIVES |
CONTACT
|
PHOTOS |
COMING SOON|
EXAMINER.COM FILM ARTICLES
||HOME
Friday, December 8, 2017
MOVIE REVIEW/The Post
The First Amendment, A Woman And The Executive Branch, Then And
Now
![](../bradlee.jpg)
Then-Washington Post owner Katherine Graham and the Post's executive editor Ben
Bradlee in 1971.
Associated
Press
by
Omar P.L. Moore/PopcornReel.com
FOLLOW
Friday,
December 8,
2017
As a title Steven Spielberg's zeitgeist-seizing "The Post" refers to at least
three things: the famed Washington, D.C. newspaper, and far more cleverly the
post of government documents in a story that would grind the Vietnam
War to a halt. The Post - the consecration of a news story about U.S.
government lies, in print in a widely-read newspaper. That's the
quintessential reinforcing of freedom of the press Mr. Spielberg constantly
reminds us of here. The film's title and the movie itself is less about
the past than about now.
The third meaning of the title "The Post" is about the Internet. When a
writer completes a story and publishes it today -- it is a "post", a live
electronic publishing of an online story or blog entry -- a stamp into the
public record. Any government pushback today against a post affects
everyone. Which is what both the New York Times and Washington Post --
still proud journalistic rivals to this day -- tried and ultimately succeeded
against prevention of in 1971 -- publish, only after court intervention and not
before the U.S. Supreme Court smacked down the Times in its efforts to publish
government papers revealing its generations of lies about Vietnam.
"The Post" is a riveting spectacle of process, deliberation, evaluation,
intricacy and quality control, the First Amendment and by extension the male
control of a woman's voice in the workplace. The new feminist movement
dawned in the late 1960s when newsrooms for most women were anathema. As
newly-minted Post owner Kay Graham (Meryl Streep) wades alone through a man's
world of media titans and executives, she is measured up like fine-column print
to her deceased Post-owner husband and shunted aside, her ideas appropriated by
men at boardroom meetings. Men, including the biggest Pinocchio of his
time, Ms. Graham's friend and defense secretary Robert McNamara, keep her
shackled, and a big payday looms if she sells her "small-town newspaper".
If any of this sounds familiar (the onset of media mergers and later "The
Insider" issues clouding CBS news content and the CBS-Westinghouse merger) it's
partly because Mr. Spielberg's dedication to detail and methodical rigor
crystallize points about the urgent present day conflict of government, business
and media. Not to mention U.S. presidents (Bill Clinton) who ushered in
consolidation of media empires (Telecommunications Act of 1996). You see
rich investors and shadowy well-dressed figures in Mr. Spielberg's "Post"
newspaper halls seething and looming large in the foreground and background,
just waiting to pounce ahead to 2017 and billionaire Post owner Jeff Bezos.
Ms. Streep is marvelous here, sometimes excellent as she does some of her best
film work in years. As Ms. Graham she breathes in the weight of the world
and you see it. She's the focal point of a huge decision, one that also
opens the floodgates for women, a fact the screenwriters and director wisely
salute in the film's final act. The array of crucial supporting
performances are even better, pitched perfectly and economically, each performer
almost unrecognizable.
Mr. Spielberg's targets in "The Post" are bipartisan, with a continuous
through-line to the present. You hear Vietnam and another generation
thinks of George W. Bush and the Iraq invasion. In "The Post" when a
line is spoken to despise New York Times reporter Neil Sheehan in 1971 I flashed
forward to candidate W. and Cheney at a campaign stop
talking contemptuously
about reporter Adam Clymer of the New York Times in 2000.
Interestingly that same year Mr. Clymer wrote about
Mr. Nixon and his
reported use of mood-altering drugs.
![](../bradleegraham.jpg)
Meryl Streep as Katherine Graham and Tom Hanks as Ben
Bradlee in Steven Spielberg's drama "The Post". Fox
Most conclusively and resonantly of all, "The Post", a cool straight-line
thriller about protecting sacred institutions serving the public good, is
camouflaged in irony and snark, cheekily thumbing its nose at Donald, using
Richard Nixon, the man he imitates, to do so. This excellent, buoyant film
connects megalomaniac tyrants who want to shut down the Fourth Estate.
Such dangerous, bloated figures of power, marginalized and isolated so smartly
in "The Post" as telephone voices (Henry Kissinger) or small, insecure
paranoiacs in window frames (Mr. Nixon), are a primary target of Mr. Spielberg
and a sharp, talky script by Liz Hannah and Josh Singer. The assemblage of
direction and dialogue are as irresistible as the obvious metaphors. Then
contrast this with Post executive editor Ben Bradlee (a bristling Tom Hanks) in
several scenes as a towering figure, or with bent knee and leg filling almost a
whole frame in one scene at a desk -- emphasize that the mightiest power in
America is the press, not the government.
Multifaceted, "The Post" doesn't forget its origins nor does it eschew
nostalgia. Mr. Spielberg's film revels in "we the people" personality and
in the personalities that not only shaped the news but oversaw the making of it.
It is in these moments that "The Post" warms and wins. We see people, and
people as collaborators. We see the friendly trustworthy face that is
Walter Cronkite's.
Such references to Mr. Cronkite are both comforting and distancing because today
trusted faces have vanished (Dan Rather is one of the lone recurring echoes
reminding us), replaced by talking heads who say mostly nothing at all.
They can't be trusted and those interviewing them leave us as skeptical.
Retractions and betrayals happen more now (Judith Miller, Jayson Blair, etc) it
seems, than before. The news personalities in the 1970s offscreen were
bigger than some of the ones on it. People like Mr. Bradlee, who died in
2014, were institutions unto themselves.
Though it has many male figures and a few female figures in its midst "The Post"
cloaks itself in intimacy and camaraderie. There's the bond between
sources and those trusted to protect them, and the care in genuinely connecting
on a human level to them and those in the newsroom to the point where real
conversations happened. People really read the news. They adorned
it. Treated it with respect. There was real abiding pride in
reportage and its results. The mechanics of the printing press, the
building blocks of words, the construction of columns, the ink, the keys --
these are treated as sensual elements in Mr. Spielberg's film, luxuriated over
like dripping dark chocolate in a television ad and handled with care -- are a
dramatic opposite to a succession of sloppy, malevolent U.S. presidential
administrations who took needless millions of lives by lying for power's sake
and save-face cowardice.
Journalists were stressed out by the challenges of the Pentagon Papers but
seemed happier, and took on that challenge of holding power accountable with
relish. "You'd go to jail to end the war wouldn't you?", says one Daniel
Ellsberg, a quasi-forgotten man in some respects in real life (though he has a
new book out) but not in "The Post". The answer to Mr. Ellsberg's pivotal
question comes somewhat haltingly. There aren't many newsroomers who would
die on that kind of sword now. Instead there are male journalists, news
reporters and personalities finally being fired for sexually harassing female
colleagues. "The Post"'s final parting shot is sublime and shows that
regardless of pride in news, history continues. Will we learn from it, or
keep repeating it?
("The Post" opens on December 22.)
Also with: Bob Odenkirk, Bruce Greenwood, Bradley Whitford, Matthew Rhys, Tracy
Letts, Sarah Paulson, Carrie Coon, Pat Healy.
"The Post" is rated PG-13 by the Motion Picture Association Of America for
language and brief war violence. The film's running time is two hours and
two minutes.
COPYRIGHT 2017. POPCORNREEL.COM. ALL RIGHTS RESERVED.
FOLLOW
MOVIE REVIEWS |
INTERVIEWS |
YOUTUBE |
NEWS
|
EDITORIALS | EVENTS |
AUDIO |
ESSAYS |
ARCHIVES |
CONTACT
| PHOTOS |
COMING SOON|
EXAMINER.COM FILM ARTICLES
||HOME