Even without director Steven Spielberg offering fairly unequivocal explanations of his motivation behind signing on for The Post — and working overtime to deliver a finished product as quickly as possible — it’s not difficult to ascertain the film’s sharp relevance to this current moment. For at least the past year, journalists and lawyers have been the power pieces on the misbegotten game board of U.S. politics, providing vital information and defense as a runner-up presidency does everything it can to surreptitiously demolish the very fundamentals of American government and society. And the power has seethed at those who dare to report the actions and ineptitude, tallying up an enemies list, tweeting it out with exhausting regularity. The Post is a timely reminder that the leaders can — and must — be held to account.
With a screenplay credited to Liz Hannah and Josh Singer, The Post concerns itself with the journalistic mining of a hefty tome of classified documents known as the Pentagon Papers, which took place in 1971. Collecting research requested by the Pentagon, the lengthy document revealed the cascading disastrous decisions of the U.S. government throughout the military involvement in Vietnam, and the corresponding efforts to cover up the mistakes by flagrantly lying to the public. It was scandalous, and the executive branch — headed by Richard Nixon — did everything it could to suppress the reporting, dragging newspapers into court in a major judicial test of the First Amendment.
Spielberg’s film essentially embeds with The Washington Post, as they first find themselves lagging behind The New York Times in reporting on the papers, and then taking over the leading role once the Gray Lady is hit with a court injunction. The prime debate about whether or not to defy an already aggrieved White House with new stories is waged between editor Ben Bradlee (Tom Hanks) and publisher Kay Graham (Meryl Streep). The former is driven by an enduring sense of mission — that this sort of reporting is exactly what newspapers must do — and the latter is concerned because the media company she inherited is in precarious financial times, reliant on a public stock offering to stay afloat. A war with the U.S. government threatens to undo everything.
There’s not much doubt where Spielberg’s sympathies ultimately lie, but he is a shrewd enough storyteller to realize that the conflict must be even. Graham’s reticence needs to be grounded in good sense, otherwise the film merely bides time. Streep is an invaluable collaborator in this respect, quietly signaling the agonizing journey Graham must go through, weighing the cold business decision against the legacy of the newspaper. On the other side of the history, the decision is easy. Spielberg and Streep work together to offer the useful reminder that it was damned difficult in the moment, especially since Graham was being continually underestimated because she was the rare woman commanding a sizable media organization.
Streep may be the standout, but Spielberg has the clout to assemble a Murderer’s Row of great actors to fill out the cast. In addition to Hanks’s typically strong work as Bradlee, the film includes a great supporting performance by Bob Odenkirk as Ben Bagdikian, a Post assistant editor who is instrumental in landing the story. In general, there’s admirable commitment from everyone involved — including Matthew Rhys, Tracy Letts, Carrie Coon, Jesse Plemons, and Bradley Whitford — investing life into their characters, no matter how brief the screen time. While other directors might have settled for useful cogs in the machine to help keep the complex plot chugging along, Spielberg makes certain these are full-fledged people moving in and out of the scenes. Largely because of this insistence on developing a world with in the film, the stakes stay high.
Of course, I mean the stakes stay high dramatically. Then, as now, the dangers to the republic couldn’t be starker. If Spielberg sometimes underlines that point a touch too forcefully, he can hardly be blamed for such a minor infraction against cinematic restraint. When ringing alarm bells, it’s not advisable to muffle the sound.