In today’s climate, fake news and misinformation abound. Now more than ever, we should be able to rely on the press to disseminate truthful information. The Post hearkens back to a time in American history when the public still had trust in the fourth estate, and news publications prided themselves as gatekeepers: the last line of defense between the average citizen and a (potentially) corrupt government.
The Watergate scandal has been well-documented, but some may be unaware of the precursor to that tumultuous time, when public trust in our nation’s highest office previously began to be eroded. Incomparable director Steven Spielberg (Bridge of Spies) brings us The Post, an account of The Washington Post’s controversial publishing of The Pentagon Papers in 1971. Initially the classified information was brought to light by The New York Times, but The Post published a lengthier excerpt shortly thereafter. Specifically, The Pentagon Papers were a detailed report written by the Department of Defense revealing that the U.S. was essentially involved in a war that it knew it could not win. At least four administrations, including Kennedy and Johnson – had not been truthful about the Vietnam War with the American public – while still sending our young people off to die in a foreign jungle.
Tom Hanks (Sully) stars as editor Ben Bradlee, while his boss is owner Kay Graham (Meryl Streep, Ricki and the Flash), whose father owned the paper before her. In a sign of the times, her father willed the paper to his son-in-law and Kay’s husband rather than to his own daughter. This apparent invisibility in male-dominated spaces would require Kay to assert herself in courageous ways, and the film’s subtle depiction of Graham’s timidity in that sphere was spot-on. The strength of The Post is two-fold: Spielberg masterfully impresses upon us the weight of the classified information, and lends an equally deft hand to the agonizing dilemma with which Graham is faced: to publish or not to publish?
It was interesting to see an iconic newspaper such as The Washington Post depicted as a fledgling underdog but remember this was before Woodward & Bernstein. Hanks and Streep were effective, with the former showing the dogged tenacity of a grizzled vet and Streep delivering a quietly brilliant performance. Some Hollywood names are all hype, but Streep is as good as advertised. Kay Graham could’ve been imprisoned for publishing The Pentagon Papers, but she did so anyway, in bold defiance of the male members of the Board of Directors, blazing a new trail for the paper and positioning it as a bastion of truth through diligent investigative reporting.
The Post was deliberate, sharp and compelling. Spielberg, Hanks, and Streep elevated the film by virtue of their presence/involvement alone, which was enough of a draw for me. The accolades are well-deserved. I also enjoyed the limited screen time and supporting performances from Carrie Coon (Gone Girl) and Matthew Rhys (Burnt). My only criticism of the film is less of a ‘ding’ and more of an observation. It’s an important film but it’s not an exciting movie, and for that reason I recommend this movie to those who are fans of Hanks and Streep and to those who try to check out the Oscar contenders every year. I enjoyed The Post and hope it’s indicative of the films to come in 2018.