Spoiler warning: these reviews reveal plot twists.
Washington, 1971. Just as the owner of a major newspaper is attempting to float the parent company on the stock exchange, its editor wants to publish hugely controversial material…
Seen before? No.
Best performance: Tom Hanks (here playing legendary Washington Post executive editor Ben Bradlee) is very watchable as always. But it’s difficult to look past Meryl Streep as Katharine Graham. Graham was the publisher of the Washington Post, an unusual position for a woman in the early 1970s; her father had built up the company’s legacy and she’d inherited her job after the suicide of her husband. So in The Post she’s a woman with a weight on her shoulders. The way Streep plays Graham’s development from someone who nervously fumbles a board meeting to someone who takes brave and bold decisions is wonderful.
Best scene/moment/sequence: The movie is encroaching onto some sacred cinematic ground. In several ways, The Post could be considered a prequel to Alan J Pakula’s masterful thriller All the President’s Men (1976). It’s set soon before the Watergate scandal dramatised in All the President’s Men, features some of the same characters – Ben Bradlee is a big presence in both films – and the two newsroom sets are uncannily similar. The connection is made obvious in the final scene of The Post, which Rogue One–style leads directly into the opening of the earlier film. And as in All the President’s Men, the sequences in The Post that feature journalists working on their stories are thrilling. Whether they can – whether they should – publish the expose is the central question of the film and, even if you know the real history, it never loses its jeopardy.
Review: A mid-range Spielberg film is still a thing to behold. It’s doubtful that, in years to come, The Post will top any polls or be remembered as one of the director’s best. But it’s still an immaculate, impressive and incredibly engaging piece of filmmaking. Rushed into cinemas to capitalise on our current obsession with ‘fake news’, the movie concerns the Pentagon Papers. In 1967, US Secretary of Defense Robert McNamara commissioned a study of America’s role in the Vietnam War. He intended it for academic posterity rather than political analysis but it contained some incendiary conclusions, not least that successive Presidents had continued the carnage even though they knew an American victory would never come. The Post tells the story of how the report was leaked and published. The movie ticks all the usual boxes for a film about journalists cracking a massive story, but it ticks them with such a rich, stylish flourish that you don’t mind that things are often predictable and occasionally a bit schmaltzy. The well-cast ensemble is led by Hanks and Streep but contains numerous good performances. The attention to period detail is fantastic. And the script never assumes the audience needs hand-holding. Actually, it’s not just the presence of Bradley Whitford and Sarah Paulson in secondary roles that makes this film remind you of Aaron Sorkin. His TV shows, such as The West Wing and The Newsroom, lived and breathed by scenes of clever and principled people arguing about important issues, and that’s what The Post is all about too.
Nine linotype machines out of 10