The Post

photo courtesy of susangranger.com

BEWARE: HERE THERE BE MILD SPOILERS (BUT, YOU KNOW, IT’S HISTORICAL FICTION)

     The Post dramatizes the early 1970’s stand-off between the Nixon administration and the press over the publication of the Pentagon Papers. The confidential papers, which documented several consecutive administrations’ efforts to deceive the public over the status of the Vietnam War, were published by The New York Times and resulted in a government ban until the issue could be settled in the Supreme Court. In the film adaptation of subsequent events, The Washington Post’s publisher Katharine Graham (Meryl Streep) and editor Ben Bradlee (Tom Hanks) must decide whether to publish the Papers, knowing full well that publication might lead to personal imprisonment and the dissolution of the newspaper.

     The director is, of course, Steven Spielberg, one of this generation’s master storytellers. The Post falls nicely into the “Oscar caliber” category (Schindler’s List, Saving Private Ryan, Lincoln) of Spielberg’s directed works, rather than the “popular crowd pleaser” category (E.T, Jurassic Park, Indiana Jones). Spielberg has established a long-standing pattern of producing one from each category at the same time, and since his next action-adventure spectacular (Ready Player One) is set to come out this March, it’s only fitting that he balance it out with one movie where all the tension and drama comes from groups of people sitting around in dark rooms talking at length about issues of national consequence. But rest assured: The Post is an incredibly satisfying drama, and, if I dare say it, one of Spielberg’s best.

photo courtesy of variety.com

     There’s a lot to appreciate about the story, even on the surface. The Post is about two people whose personal convictions and experiences are at the foreground of a national controversy. Between the complex character dynamics in play (Graham’s sense of duty to the company, her urge to move it past her husband’s suicide), and the larger context of two hallowed, American institutions clashing with each other, there’s plenty of compelling pieces to work with. Comparisons are rightly made to Spotlight, the 2015 Best Picture winner, which shares a newsroom setting and portions of the movie’s basic dilemma.

     But obviously The Post works on another level, yielding parallels to today’s cultural landscape, where sexism and challenges to the free press are still in the news. Spielberg is no stranger to making political statements, and while in the past his motives/messages have been debated (in Munich, for instance), here he makes his position clear. When the dust settles between the movie’s rival factions, there’s no doubt as to which side rises gloriously victorious.

photo courtesy of rogerebert.com

     For the most part he expresses himself artfully, with striking visual metaphors to boot. He spends a good deal of screen time shooting the Pentagon Papers in their various incarnations, here being furtively copied and concealed, there being triumphantly printed by the paper’s industrial printing press. At other times, his visual messaging is less than subtle, as when he somewhat cartoonishly presents President Nixon through the White House windows. On a few occasions, he accomplishes both feats at the same time, managing to be both sharp and on-the-nose in one breath. Case in point: Graham’s departure from the favorable Supreme Court ruling takes her through a busy crowd, but whereas the Times publishers are greeted by a media frenzy, Graham quietly makes her way through an increasingly unmistakable arrangement of young women. The visual is perhaps slightly over the top, but it’s powerful, too. Graham’s actions, the movie says, echo down through the lives of young women, inspiring them to take a stand against sexism as Graham finally does when she proclaims to the board members that the company is hers, not her husband’s.

     It goes without saying that the cast is exceptional. Putting Meryl Streep, Tom Hanks, and Steven Spielberg together is just unfair, really. But apart from the obvious mentions, Bob Odenkirk (Better Call Saul) continues to distinguish himself as a dramatic actor with a great performance. Sarah Paulson is also in the movie, though she doesn’t get nearly enough to do for an actress of her caliber.

photo courtesy of nytimes.com

     One of the most interesting aspects of the movie is its choice of ending. After the conclusion of Graham’s story, Spielberg jumps to the discovery of the Watergate break-in, presented with an almost gleeful little flourish. Frankly, I’m not sure what to make of it. It feels like a signature Spielbergian pat on the back, as if to say, “yes, this is was all very bad and trying, but don’t forget that eventually the bad guys got what was coming to them.” It might be a triumphant conclusion, which is not necessarily out of place. But it might just as easily be a dilution of the film’s success as a metaphor, providing a trite, happy ending to the problems of the 1970's when the today's problems are far from a resolution. Perhaps it’s a bit of both, but I suppose time and another viewing will be needed to know for sure.

     FINAL VERDICT: The Post is compelling, timely drama with exceptional work from some of Hollywood’s finest creatives.

Watch the trailer here. 

photo courtesy of collider.com