The Post

Streep. Hanks. Spielberg. Industry powerhouses join forces to deliver this topical, timely story on the freedom of press.

Journalism is a topic that never seems to tire itself in films. The concept of The Post is reminiscent of 2015’s Spotlight which touches on the personal toll of being a member of the press. However, Spielberg’s The Post focuses more on the politics and integrity of the reporting business.

Spielberg’s intention with The Post is clear, and he conveys his intention quite effectively at that. It’s made for today’s audience, addressing current crises in the global newscycle. The sense of urgency driving the production of this film is present throughout the film in a favourable way, even when it’s not spelled out completely. However, the film as a whole left something to be desired. The exposition is rather slow. The story starts to get interesting when the group of news reporters lead by the paper’s editor, Hanks’ Bradlee, are doing actual reporting work. Meanwhile, the ensemble of reporters, lawyers and business owners crams into Bradlee’s living room to debate on the future of the paper. At the centre of the conflicts is Streep’s Katharine Graham, the newspaper’s owner and publisher, who is torn by the duality of her duties. The will-she-won’t-she plot line, as Graham is deciding whether to publish the story or not, is enough build tension, thanks to the actress’ layered performance.

Spielberg and the cast set a steady course for The Post to fulfill its goals and it operates comfortably within its own conventions.

(Originally posted on 5 Feb 2018 @projectunwrapped)