Whether in a relationship, a job, or in matters of politics and America, power should never go unchecked. The Washington Post is in a little bit of a transitional period, led by publisher Katharine Graham (Meryl Streep), the first female publisher of a major newspaper. Graham—as does lead editor Ben Bradlee (Tom Hanks)—wants “The Post” to be more than a local newspaper. She doesn’t command much faith in her visions, mainly because she’s a woman in a man’s world.
Opportunity does knock, however, when secrets regarding the US Government’s stance on the Vietnam War are leaked initially via the New York Times by way of the “Pentagon Papers.” Government is none too happy about it, and chooses to shut down the story before it gets too in-depth. They’re threatening criminal action if anyone else decides to run with it, but this is something that the American populace needs to know. Commence the battle between free press and the government.
Officially ending the unofficial real-life heroic figure(s) trilogy that director Steven Spielberg has lent his talents to in recent years starting with 2012’s Lincoln and 2015’s Bridge of Spies is his latest in The Post. Stop me if you’ve heard this before: It is impossible to discuss or think about The Post without thinking about our current everyday bizarre political world, but it is the truth. Spielberg has made something that honors the past, but is more so focused on preventing the future.
A fast production schedule rarely benefits a movie, but with Spielberg overseeing just about everything, it’s not likely we’d be getting a better cut with additional prep time. But, it is still impressive at just how well The Post comes out, showing no signs of a rushed timeline. The standard of excellence we’ve become accustomed to from Steven is still present, displaying a tight and historically accurate-looking presentation that rarely feels stagy or fake. Longtime legendary collaborators in cinematographer Janusz Kamiński and composer John Williams assist to make The Post one of the year’s best, technically.
Hard to find any egregious faults with The Post, if any. It’s a good movie that fits right into the season, with a solid script that seems to be very rooted into reality penned by debut feature writer Liz Hannah. One can feel the passion she has for this story and the character that is Katharine Graham. But, watching The Post is more akin to viewing an important, yet dry, history lesson more so than a compelling silver screen feature, even with the obvious allusions to what’s going on now. One that is respected for the overall craftsmanship and message rather than possessing the ability to become enamored with what is on screen.
Having Meryl Streep and Tom Hanks pretty much makes a film good by default, and no surprise, they’re excellent here. The first ever on-screen pairing between two of the greatest to ever do it proves fruitful, with the duo occasionally sharing scenes in the same location. Streep sells the fear, yet determination of trying to brave a male-dominated workforce, and Hanks sells the brazen determination of an editor trying to get to the bottom of a story the world needs, sleep be damned. Going past the big named twosome, The Post is planted with maybe not big, but well-respected, cast members in Bob Odenkirk, Bradley Whitford, Sarah Paulson, Matthew Rhys, Tracy Letts, Alison Brie, and Bruce Greenfield who all blend in and chew scenery when needed.
Hot off the presses and fast-tracked ever since the results of that November 8th, 2016 day crystallized, The Post doubles as a timely historical piece and an obvious Oscar contender.
Photo credits go to IMDB.com, thefilmstage.com, esquire.com, and vogue.com.
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