The Post [2017] Full HD Movie FREE Download
Prodded into existence by Steven Spielberg, one of the few
filmmakers capable of making the studio system do his bidding and of convincing
major players like Meryl Streep and Tom Hanks to go along with him, "The
Post" takes on a particularly counterintuitive subject.
The Supreme Court sided with the news when it
ruled in favor of the Post and the New
York Times publishing the top-secret information in the
Pentagon Papers. In a six-to-three vote, the court ruled that the government
did not adequately prove that it had the right to bar the newspapers from
publishing the classified history of the Vietnam War on the claim that it was a
national security risk.
That would be the Washington Post's 1971 role in publishing what
came to be known as the Pentagon Papers, a top-secret 47-volume, 7,000-page
Department of Defense study of the war in Vietnam that exposed all manner of
official prevarications and outright lies extending over the terms of four
presidents.
For one thing, as the gripping Liz Hannah and Josh Singer script
makes clear, the breaking of this story was initially owned lock, stock and
barrel by the paper's rival the New York Times, which may be why Post editor
Ben Bradlee gave it only 14 pages in his autobiography compared with 60 pages
for Watergate.
Will that engagement continue after the
journalistic tumult of the Trump administration? If we’ve learned anything,
it’s that challenges to the free press will always persist, and so there are
almost certainly lessons for future generations in “The Post.” Will it hold up
as cinema outside of its cultural moment? On the one hand, it doesn’t really
matter.
As the President of the United States challenges
different journalistic institutions, mostly through his Twitter feed, and
“truth” seems to have become a looser term than ever before, “The Post” is
designed to be viewed as a commentary on today as much as yesterday, maybe even
more. It’s fascinating to consider a film this well-constructed and packed with
talented performers that would have played completely differently just two
years ago. However, I wonder if hurrying the movie to strike a
moment was the right decision.
Despite what people want to argue in comments
sections, film doesn’t exist in a vacuum, it often responds to and plays
differently because of current events. And so while I’m curious to see how
people remember “The Post” in ten years, we can only respond to it today, as
institutions like the newspaper at its center are yet again under attack. Where
are the Kay Grahams and Ben Bradlees of today? While I wish “The Post” asked
this question more directly and angrily, there’s definite value in people this
prominent asking it at all.
Collaborating with his regular team, including cinematographer
Janusz Kaminski, editor Michael Kahn (Sarah Broshar co-edited), production
designer Rick Carter and composer John Williams (costume designer Ann Roth is
new to the group), Spielberg seems to have been energized by the self-imposed
time restraints.
Screenwriters Hannah and Singer nicely marshal their arguments
here ("We have to be a check on their power," Bradlee says, "if
we don't hold them accountable who will?") and the parallels to the
position of the press today are strong and vivid, as they are meant to be.
Though "The Post's" supporting players are key, the film
is in some ways a two-hander, and both Hanks and Streep understand that their
push-pull relationship is the film's emotional center.
Realizing that he does not physically resemble Bradlee as
"President’s Men" Oscar winner Jason Robards did, Hanks finds his own
path to make the editor come alive, while the remarkable way Streep captures
and conveys Graham's essence is quite special.
One of the intriguing aspects of "The Post" are the
connections between its creators and top journalists. Producer Amy Pascal is
married to former New York Times reporter Bernard Weinraub and Spielberg has
dedicated the film to the late Nora Ephron, who, along with her husband, Nick
Pileggi, were summer house neighbors of Spielberg's in New York's Hamptons.
"The Post's" message is personal for him, and he's done all he can to
make audiences feel the same way.
"The Post," made with the pacing of a thriller, has an
appealing sense of urgency about it, with the director, echoing newspaper films
past like Sam Fuller's "Park Row," working in a lean, focused style
that also feels loose and unconstrained.
Though Hanks' Bradlee is obviously a key player, "The
Post" is really about the professional coming of age of Streep’s Katharine
Graham, the owner of the Post.
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