Review of The Post (2017) by Isaacj — 18 Apr 2019

It seems somewhat surprising that 2017’s The Post marks the first time that Steven Spielberg, Meryl Streep and Tom Hanks have all collaborated together. From this triumvirate of living screen legends, one expects near perfection, even in a project whipped up in as quick time as this political drama, a watchable if slightly more staid Spielberg production.

The Post acts almost as a precursor to Alan J. Pakula’s All The President’s Men, telling the story of the Pentagon Papers and how The Washington Post battled with Nixon’s White House to uncover shady government secrets over the Vietnam War. Meryl Streep is Kay Graham, the first female owner of a major American newspaper, whose job, we are led to believe, mainly involves high-class socialising and cagey board meetings where her gender is looked upon with raised eyebrows. The Post charters Graham’s legal battle for the freedom of her paper, helped by her boisterous editor Ben Bradlee (Tom Hanks).

In many ways, The Post left me feeling slightly disappointed. Here, Spielberg is very content in his craft, almost to the point of complacency. The film is entertaining enough but lacks the edge of some of the director’s better political dramas like Lincoln. Though The Post is very much a period piece (the attention to detail of the era is satisfying), its commentary is clearly intended to echo the climate of today, where the office of the President of the United States stands even more overt in its quashing of the free press. Whilst there is no denying the importance of the message, it’s one dealt with little subtlety in this film, with characters frequently quoting the First Amendment and uttering melodramatic statements of responsibility. The Post feels far too much like it’s trying to say something, weighing the film down even amongst the capable direction and talented ensemble.

I also found Streep’s performance to be underwhelming, her understated delivery bordering on passionless. Hanks is far more impressive, giving Bradlee an enjoyable level of gravitas. Even then, however, the characters in The Post never feel particularly convincing, mere products of the plot rather than engaging figures in their own right. There is also a distinct lack of tension, where even at points of climax in the narrative, the film feels stuck in a sedate vacuum, finally ending in a cadence that seems to come all too quickly and with a little too much Amblin-schmaltz.

That being said, The Post is still a very competent drama that, even in the face of its problems, remains voraciously watchable. There is no denying the talents of the team behind this film; whilst the subject matter never quite convinces you that it wouldn’t be better as a documentary, Spielberg still has a good hand on the storytelling and there are some great turns by members of the ensemble cast (Bob Odenkirk’s performance feels the most genuine the film gets). John William’s score is a complimenting addition, as is Janusz Kaminski’s camera, littered with wide shots of muted colours that nostalgically remind one of vintage Spielberg work. In the end, The Post is no masterpiece; it’s standard, uninspiring drama that always falls slightly short of the skilful team behind it. The points it raises boast relevance; perhaps The Post needs a less clumsy and rawer delivery, but it’s a message that still feels important when told even with middling capability. Though it certainly won’t be remembered as a Spielberg, Streep or Hanks classic, The Post is still an able piece of filmmaking that could be a nicely unchallenging evening watch.