The Post: Los oscuros secretos del Pentágono

Spielberg's new drama about the controversial publication of the Pentagon Papers by the Washington Post and New York Times is a well-made and entertaining, albeit not perfect, film. Tom Hanks gives a thorough and enjoyable performance as Ben Bradlee, but it is Meryl Streep who truly stands out in the cast here through her role as Kay Graham. Bob Odenkirk's supporting role is also noteworthy in a very positive sense.

The film is thoroughly gripping, although it sometimes feels paced slightly clumsily through omissions of details that could have been better to include as Spielberg presents the audience with the turbulent politics of the Vietnam era that lead to the intense legal and ideological controversies surrounding the Pentagon Papers. Additionally, a rushed--albeit still very enjoyable--third act makes the viewer feel that the film's running time is a bit too short. The film is an enjoyable watch in a way that other journalism films like "All The President's Men" and "Spotlight"--while better films overall for sure--are not, but its tone is handled well throughout. If Spielberg's dramas have taught me one thing, it's that he clearly knows how to let a specific tone manifest itself throughout the course of a narrative and do that well. The film contains a few moments that feel a bit 'meh' (a very clichéd rather than powerful discussion of the importance of freedom of the press in the second half is one.) While it has neither the high emotional stakes and dramatic tension of "Bridge of Spies" or the clockwork precision of "Lincoln," it is still a very well-acted and entertaining film that I do recommend. 7/10

Economic, specific, brilliant. That should be enough to sing the praises of a work of art but in "The Post" there is more. much more. We can't ignore the fact imposed by the historical moment we're living right now. The press under attack. Belittled, insulted but not ignored. No, never that. Steven Spielberg puts everything at the service of the story and the magic stroke is Meryl Streep. She creates a real life woman again, after Margaret Thatcher, Julia Childs, Lindy Chamberlain and once again she creates a fully fledged human being and this time she plays a woman without a known voice until she finds it and when she does, she uses it. I'm absolutely transfixed and moved very moved by her performance

If you lived through Vietnam and have read and seen the material in the aftermath (including Ken Burns' incredible documentary), there seems little doubt that our leaders were at the center of the deaths of thousands of our dear sons and daughters. From Truman to Eisenhower to Kennedy/Johnson to Nixon, image was what it was all about. The tapes and phone conversations prove this. So when Daniel Ellsberg delivered those damning documents to the New York Times, he brought down evil. Nixon had the world by the butt and overreached. So what about this movie. I have to agree that it wasn't as good as I thought it was going to be. Despite portrayals by real troopers and a masterful performance by Streep, it had a kind of yawn factor. Somehow, there seemed little suspense. Of course, we knew the story, but it never picked up much steam. It needed fine tuning. An interesting continuing commentary in IMDB is the use of a movie forum to perpetuate a soapbox. But to give this film a one or two because it shows the parallels of that time with the one we are living in, is counter to the whole point of reviewing. Anyway, I thought it was a reasonably thoughtful portrayal of a time when government got bigger than it should have.

Print media may be dead, but the crusader journalist movie is alive and well. "The Post" is just as much a paean to the newspaper's heyday as it is a warning against corrupt government, complete with top-shelf cast. Given the Washington Post's lasting legacy (to this day), you can easily tell that the Pentagon Papers weren't the certain doom they seemed to spell out for the paper. Yet Spielberg jumps right into the material, creating excitement even in mundane printing press scenes. This is a stirring tale, masterfully directed and timelier than ever. Sure, it's probably Oscar-bait, but you can't argue with that level of quality.

8/10

The term 'fourth estate' was coined in 1841 by philosopher Thomas Carlyle when he said that the Reporter's Gallery was far more important than the 'three estates' of parliament. This titbit of history tells us the battle lines over 'fake news' are as old as 'the press' itself. It is also the context for The Post (2017), a dramatic thriller and civics lesson about the media's role in checking government power. The Post shows why the media is despised by despots and is thus essential viewing for anyone wanting to better understand today's shambolic attacks on the media.

The facts of the story became world news. By the mid-1960s, most Americans were losing faith in the nation's prospects of an honourable conclusion to three decades of conflict in Vietnam. While various Presidents told Americans that success was assured, the top-secret Pentagon Papers revealed that national policy was based on a litany of lies. Former military analyst Daniel Ellsberg notoriously leaked the Papers to the New York Times, but publication was suppressed by court order. The rival Washington Post acquired a copy and had to decide whether to publish and risk the paper's future, or not publish and lose the respect of its journalists.

A dramatic high-tension wire is strung between Post heiress and socialite Katherine Graham (Meryl Streep) and her hard-core news editor Ben Bradlee (Tom Hanks). They are polar opposites: she is a darling of the establishment, uncertain of her ability and fearful of losing not only the business but her social standing. Bradlee is a truth-seeking journalist who mistrusts lawyers and would publish at any cost. Described as "the most highly classified documents of the war", the President commands an army of lawyers threatening Armageddon if the paper goes to print. The film's period set design is brilliant: the reporter's room is a galley of buzzing typewriters and the printing press a mechanical maze of oiled steel grinding out papers in a frantic atmosphere of unrelenting deadlines. Against this background, the pre-feminist newspaper owner must make a decision that could bring down a President. When the choice is made, the Post must then face presidential retaliation via the Supreme Court.

This story requires no narrative embellishment, nor does it need dramatic performances to convey the high-stakes of an extraordinary moment. The casting of stars and support is excellent. Streep and Hanks give their most understated performances of recent times; no other contemporary actors could have filled these roles with their authority and authenticity. Spielberg's direction keeps the events unfolding at a brisk pace to leverage the tension curve upwards while sticking close to the facts. This is masterful storytelling based on an important event that resonates into the modern era.