THE POST Meryl Streep, Tom Hanks, Bob Odenkirk. Directed by Steven Spielberg. Ranked PG-13. Opens Friday citywide.
Just Steven Spielberg might snag Tom Hanks and Meryl Streep for a film hastily took into production to profit from existing occasions (in spite of being embeded in 1971), and The Post proves that their combined talents can produce captivating, sleek movie theater in half the time most Hollywood filmmakers need to churn out something less than half as excellent. And while it’s not hard to discover the contemporary parallels in The Post, Spielberg and film writers Liz Hannah and Josh Vocalist mainly restrain themselves from making blunt commentary on existing events.
Instead, they present a procedural look inside The Washington Post’s decision to publish the classified federal government files referred to as the Pentagon Papers, after a court order had actually halted The New York Times from doing the same. The Times’ involvement is more popular, but Spielberg, Hannah and Vocalist utilize the Post’s perspective to tell an underdog story of sorts, as the paper is in the midst of a difficult shift, attempting to increase its nationwide profile as well as getting ready for a public stock offering. While films like Spotlight or the classic All the President’s Men (likewise about the Post’s reporting on government secrets in the 1970s) focus on dogged reporters, The Post gives the majority of its screen time to their managers, individuals strained with deciding that might bankrupt a company or land its workers in jail.
Hanks plays the more standard gatekeeper character, executive editor Ben Bradlee, a born newspaperman whose first and just instinct is to publish the Papers, a series of damning reports on the unwinnability of the Vietnam War, despite the court order versus the Times doing so. However the more appealing figure is Post president and publisher Kay Graham (Streep), a woman in an extremely male world, who was thrust into the position of leading the company after her spouse’s death, and has a hard time to be taken seriously by almost all of the males who work with or for her.
So while the story of how the paper obtained, analyzed and ultimately released short articles on the Pentagon Papers is grasping and suspenseful, Kay’s journey is the movie’s heart, and Streep, offering a performance without the silly voices and tics that have dominated too many of her current roles, digs deeply into Kay’s conflicted feelings, as she summons her inner resolve but likewise grieves the friendships and monetary security she may lose by defying the rich and powerful people with whom she’s associated for her whole life.
Spielberg is a superb craftsman, and he expertly constructs thriller from reporters furiously typing, even making most of the motion picture’s tacky moments of victory. Like Bridge of Spies, another fact-based Spielberg movie about great individuals doing the right thing, The Post molds real life into a crowd-pleasing story without compromising the underlying honesty.