By midlandsmovies, May 5 2018 09:47AM
The Post (2018) Dir. Steven Spielberg
Is there anything worse than the comment “oh, it’s so the film we need right now”? I think not, and Spielberg doubles down on this statement and runs with it in his ‘analysis’ of the politics of 1970s newspaper journalists and their attempts to expose corruption, in his new flick The Post. In short, what we get is a few Oscar-worthy actors (Meryl Streep, Tom Hanks) idly going through their high-quality motions as they discuss the repercussions of the Washington Post publishing Vietnam secrets buried in the Pentagon Papers.
With Spielberg’s track record, you’d expect nothing less than a well-constructed film but I found its constant pandering to topical issues so heavy-handed that the obvious parallels with current concerns about the US administration were undermined by a rather obvious delivery.
Spielberg’s floating camera and long takes are noticeable as we follow the newspaper’s owner (Streep as Katharine Graham) who is shown having her words literally taken from her mouth by male colleagues at board meetings even though the newspaper is in her hands. Spielberg tackles sexual politics as well as governmental politics, as she is shown physically placed behind groups of males and pushed out of the picture. But once they get hold of these confidential papers, she rises to take a stand and prepares to defy the newspaper's lawyers and publish the damning documents.
Early on, the Washington Post are banned from covering the wedding of Richard Nixon’s daughter' which parallels Trump – who is another grandiose self-obsessed and ugly White House figure much like Nixon himself. A clever highlight for me was showing Nixon from a distance – literally spying on him – like he did on others, and was a great way to foreshadow Watergate along with the constant shady phone-calls throughout.
Alongside this, the actors are often framed in silhouette – with illumination coming from windows (a metaphorical light at the end of the tunnel) – whilst Spielberg also uses slow zooms to echo the surveillance style of The Conversation and other political thrillers from the time. A 4-way telephone conversation hints at crossed-wires and the soundtrack has a mix of John Williams echoing his own JFK melodramatic strings with some of his Catch Me If You Can retro style.
Spielberg’s masterful control of the medium is without peer and his close-ups of the intricacies of the printing press were a beautifully staged montage of a technology long-gone. And the endless piles of paper the journalists sift through are here today in an aternative electronic format as seen on Wikileaks. Old fashioned but still powerful.
It’s just that my personal taste is predisposed to be wary of “topical” films like this obvious attempt. And The Post feels very by-the-book. The movie comes along with a well-respected filmmaker choosing the most blatant of tropes – “Hey, Nixon is like Trump! These secret papers are like Wikileaks! Journalists are being oppressed today!” Relevent? Yes. Rather tedious and obvious to all? Sadly I’d argue yes again. And hugely to its detriment.
For me, it is so representative of his two-trick pony current output – political allegories like Bridge of Spies, Lincoln and War Horse and his sub-par CGI heavy flicks like Tintin, BFG and Ready Player One - as films that haven't touched me in the way his past classics have. The Post therefore ends up going through the motions like a well organised print of a newspaper and this rag is ultimately disposable at the end of the day.
Midlands Movies Mike