When everything is awful, you have to make your own fun so I decided that while Betsy DeVos was clearly dreckitude, she was like Will & Grace’s Karen Walker, Arrested Development’s Lucille Bluth or Ugly Betty’s Wilhelmina Slater, a rich bitch with a lot of swag who didn’t give a fuck and told people what is what. Imagine my utter disappointment at rumors circling around February 2017 that in a showdown with Jeff Sessions, DeVos meekly backed down and fell into line instead of calling him a demented elf that needed to get out of her way, and then she would keep it moving. Um, shouldn’t her net worth be more than even the richest person in Alabama? What is the point of blood money if you can’t make people do what you want! She is a billionaire, and he is a millionaire. Ugh, this administration won’t let me have anything! I thought money was all that mattered, people! Apparently penises have a not so hidden bonus net worth.
The Post is about a turning point for the US, The Washington Post and women in the workplace as embodied by Katherine Graham who suddenly finds herself at the helm during interesting times. Every director of note is wonderfully falling over him or herself to make a statement against Presidon’t with mixed results, but I appreciate the good intentions. Even though Steven Spielberg actually completed Ready Player One before The Post, you can almost hear him thinking, “Like hell I’m going to release that now. I don’t care if Baby Driver was a hit. I have principles!” The Post works because the US is at a similar crossroads. The press is challenging an abusive, punitive executive branch, and the courts are our last hope to protect the truth tellers. Sadly as Presidon’t fills federal seats with unqualified pundits whose resume only boasts of repeat appearances on FOX News and the majority of Congress doesn’t seem to mind, I fear that we will look back on the 1970s as the good old days.
Unfortunately The Post is an old fashioned movie and probably won’t hold up in future viewings once this national nightmare (please, dear God) passes. I watch a lot of movies, and even the ones that I did not like, but are Oscar nominees, have a boldness and freshness that is missing in this movie. They present an almost aggressively unique vision of how the director views the world whereas The Post will happily adapt to broadcast television after enough time has passed. It is a solid drama based in history. For example, really pay attention to the way that people move and interact with the camera in this film and Darkest Hour. Spielberg tries to capture the frenetic energy of a newsroom, but the staging seems artificial, especially when the lawyers are acting with Hanks in his home. No one moves like that. There is no organic reason for the lawyers, played woodenly by The Office’s Zach Woods and overstuffed by Friday Night Lights’ Jesse Plemons, to suddenly switch places except to build tension. Darkest Hour will occasionally mirror the character’s movement by pulling forward as a character moves forward in a room, but it never feels superficial and enhances the momentum of the story. When something superficial is done, it serves a purpose such as dramatically moving upwards to give a sense of perspective, a God’s eye view.
The Post also feels too long and repetitive. I understand that it is difficult to make the viewer empathize with the characters as if there really is an alternative to what already happened. The Post does a great job of emphasizing how unexpected and sudden her position at the paper was and how disturbing it was for her colleagues and her to become a decision maker without any preparation or grooming. The Post waited too long before Graham started putting people in their place then when she does, she is treated like the Moses of the equal rights movement, the silent symbol of all women quietly gathering to lovingly gaze upon her. Did that happen? If it did, great, but it was a little twee for me. Graham did not walk so I could run, but I find her impressive nonetheless in her unique set of circumstances. Spielberg’s impulse comes from a good place, but it is still solidarity cheese. I wanted more of what the preview promised.
The Post does work in reminding viewers of the reason for this resistance: human lives are at stake. It makes the Vietnam War feel like a societal betrayal, and Graham’s struggle of being part of the establishment and not wanting to uphold it if it means more blood is spilled works. She is torn between being a good friend, protecting her family’s financial future and legacy and telling the truth. Graham as double agent forced to out herself as a mole for women’s rights, for the protection of men was a stronger story. She feels betrayed because her family could have been killed. It is a violation of the social contract, and she uses her role as socialite to funnel news stories to her paper. She is an open spy, a not so secret source to her crew of reporters, but underestimated because of her gender. In the end, she risks it all and puts her paper on the map by simultaneously enforcing her role as head of polite society (you don’t lie to your friends and put their kids in danger) and as the top shareholder while subverting it by not deferring to others or privileging money over controversy. (Psst, someone get DeVos a ticket to see this movie.)
I had mixed feelings about the casting. Gee, Matthew Rhys is the secret source. How surprising if you didn’t watch The Americans. I adore Sarah Paulson, but she felt like exposition lady to explain to the viewer how important everything is. I was still delighted that she was there. I love Tracy Letts, who is unrecognizable as Graham’s coach and head cheerleader, Fritz Beebe. I should have realized that it was Letts when I immediately was comforted by his quiet confidence and his ability to support others without ego. Letts is having a great year as supporting actor in this movie and Lady Bird. Hanks is solid, but he plays it straight as editor in chief. Michael Stuhlbarg was underutilized. If you’re looking for a magnificent bastard, Bruce Greenwood is always a reliable choice, and he had a busy year in Gerald’s Game, Kingman: The Golden Circle and the far superior Mark Felt: The Man Who Brought Down the White House. David Cross did nothing for me other than make me go, “Huh, that is David Cross.” Bob Odenkirk brought a wry sense of humor. Carrie Coon was a pleasant surprise in her brief, but memorable appearance. Fun fact that I discovered after watching the movie: Coon and Letts are married to each other!
The Post is strong because it is urgently germane to our public consciousness, but I suspect that it will not stand the test of time when people look back at what movies were timelessly great even as a period drama. Spielberg may be one of Hollywood’s greats, but his time may have passed.