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Steven Spielberg it was not very strong. When Francis Ford Coppola made Apocalypse Now and even George Lucas attacked the Vietnam War and Star Wars, Hollywood’s new nervy hotshot was more interested in movie fun than its politics. In Peter Biskind’s Tinseltown gossip book, Easy Riders, Raging Bulls, actor Kit Carson recalls running into Spielberg at a party during the height of the 1968 presidential campaign. “Everybody was up,” Carson recalled. “A revolution was about to happen.” A young manager who wanted to talk about how to get shot threw the camera off the roof.
In the end, it took him 40 years to build himself up against the US foreign policy of his youth. In a non-political way, he spent a lot of time painting the likeness of the then incumbent in the White House.
The Post is free pornographic art in front of the camera and behind it. Spielberg read Liz Hannah’s script in February 2017 after another project fell through. By December, it was in theaters, and while its title was covered by the Washington Post and the Pentagon Papers, its story is one of the last words of journalism and journalism on the big screen. A boring choice for a journalistic thriller? Maybe: it’s like a dog explaining what to hit on the head.
But although it is often compared to the likes of the investigative reporter, All the President’s Men (not unfairly, considering its last events, as MCU, in the events of Alan J Pakula’s 1976 classic), The Post is a very different beast from many of its stablemates. His story is not a slow burn in the search for truth and justice, instead he burns the shoe leather fast as a student runs across Manhattan to deliver the latest news to the New York Times. Spielberg himself described it as a “journalist chase film”; Indeed, it moves as one.
This is fake news told in a hurry – good people making tough decisions while everyone else is screaming for them to hurry to hell. It is journalism as a public service and an adrenaline rush, which happened very quickly with the high intensity of John Williams; like everything else in the film, it was made in haste. The pace of production was so fast that Spielberg went into the recording sessions to find “without hearing what is written” premeditated.
Then, an island of calm among the hills. Meryl Streep she is as determined as the uncertain Katharine Graham. It’s the drama of a movie star who turns a character’s insecurities into his greatest weapon: his successful portrayal of Bradley Whitford’s boardroom goon (“I’m talking to Mr Bradlee now”) is an endorphin shot straight to the brain. In his lofty homage to the first adaptation, Spielberg never forgets to write The Post with moments like these; he’s making a movie, dammit, and he’ll be punished if it doesn’t feel like one.
The old Hollywood actors felt it until the rest of the cast, too, made up of lesser movie stars (Tom Hanks aside) and a well-chosen band of criminals. Under-the-radar picks like Jesse Plemons and Matthew Rhys have proven themselves countless times over the years. It also features a gangster, the infamous Richard Nixon who spoke using the man’s archived tapes.
Like any good fantasy, this story (surprisingly) takes a few liberties with the truth. Employees of the New York Times were “outraged” by the reduction of the paper’s role in one of the biggest scandals ever. “I’m very disappointed,” Said one; “(a) stupid project,” complained another.
But The Post’s decision to decide the truth is more important than it should be. Written more like Graham’s investigation than the history of the Pentagon Papers, creator Amy Pascal. first he picked up The story of women’s leadership versus what happened in 2016 to coincide with Hillary Clinton’s election victory. The result, religious truth or not, was based on the way the world was going – the opposite of what he wanted.
The hope of this film in the media industry seems to die soon after its release. Five years later, Deadline will announce “Journalists are not as interesting as they think” investigating #MeToo He said the box office is in trouble. Spielberg may have been right to say that the story needed to be told quickly; Can people today easily believe that journalists are the good guys?
That’s why I’m sad for all the years, 2017: when movies were like movies and big, right Steven Spielberg He can get a $50m play greenlit on a whim, and when the “truth” and the “American way” can appear together outside the punchline.
A team of world-class talent working incredibly fast to tell a story where time is of the essence. Could there be a better journalistic score than that?
