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THE POST: The War Against Fake News Has Been Fought Before And Won

Opening today at a multiplex near you:

THE POST (Dir. Steven Spielberg, 2017)

After putting his stamp on just about every other cinematic genre out there, Steven Spielberg now tries his hand at newspaper drama with this timely story that’s ripped straight from the headlines, but, obviously, they’re headlines that are over four decades old. Simply, THE POST relays how the Washington Post defied President Nixon and his men by publishing top secret files detailing the lies the government told and was still telling about the Vietnam war.

As the paranoid, dishonest tactics of the Nixon White House have many times been likened to the Trump Administration’s troubling methods, it may seem a bit too on the nose to get this big star-studded prestige picture from those liberals in Hollywood about how then is just like now, just in time for awards season.

And yes, this is a cautionary tale about how journalism is being threatened in our current era of “fake news,” but despite the predictable packaging, Spielberg has successfully structured an earnest, old fashioned, and highly entertaining showcase for his inspiring subject, and his superb cast.

And it really is a superb cast as Oscar-winners Tom Hanks, as Washington Post Editor Ben Bradley, and Meryl Streep as the Post’s publisher, Katherine Graham, head the strong ensemble that also includes Sarah Paulson, Bob Odenkirk (with David Cross also on board we get a Mr. Show re-union!), Jesse Plemmons, Tracy Letts, Bruce Greenwood, Bradley Whitford, and Carrie Coon.

The film begins in 1966 Vietnam, evoked by the familiar sounds of helicopter blades, and CCR blasting, as we see gritty shots of soldiers loading their guns, and applying war paint. Mulling about these men is Daniel Ellsberg (Matthew Rhys), a military advisor on a fact finding mission to monitor the war’s progress.

After we see Ellsberg witness a night ambush by the Viet Cong in the rainy jungle, he reports back to Secretary of Defense Robert McNamara (Greenwood) that things haven’t gotten any better or worse over the last year, they’ve stayed the same.

To Ellsberg’s disgust, McNamara lies to reporters telling them that “Military progress over the last 12 months has exceeded our expectations,” so Ellsberg steals a top secret 7,000 page document soon to be dubbed “The Pentagon Papers,” that strongly says otherwise about US strategy in south-east Asia, and later leaks it to the New York Times.

That brings us to 1971, where Streep’s Graham is taking the Post’s stock public just as the Times’ is publishing a portion of the Pentagon Papers, which leads to the Nixon administration suing the Times to halt further publication.

Under intense pressure, Graham frets over the legal ramifications of the Post publishing the secret files obtained from Ellsberg while Hanks’ Bradlee scrambles with his staff to distill thousands of pages into articles fit to print under strict deadlines.

THE POST can serve as a companion piece and a prequel to Alan J. Pakula’s, ALL THE PRESIDENT’S MEN, as it ends where that essential Watergate expose begins, but it stands on its own as a solid, stately tribute to the power of the free press.

Since Hanks, Streep, and Spielberg, all at the top of their game here, have already won multiple Oscars, they may cancel themselves out of the race.


So may co-screenwriter Josh Singer, who won last year for SPOTLIGHT, cinematographer Janusz Kamiński, who’s already won two Oscars for Spielberg films; and composer John Williams, whose won five (count ‘em – five, and three were for Spielberg movies), so I can see this movie not winning anything (it didn’t win any of the six Golden Globes it was up for), but it won’t matter because THE POST is an Oscar-caliber film regardless.

See it so you can see that what is going on now has gone on before, and since it was overcome then, it can be fought and won against again.

More later…

Deep Throat Is Back! (No, Not The Porno)

Now playing in the Triangle area:


MARK FELT: THE MAN WHO BROUGHT DOWN THE WHITE HOUSE (Dir. Peter Landesman, 2017)


For over thirty years, the identity of Deep Throat – the nickname (yes, inspired by the porno) of the informant that gave vital information about the Watergate burglary to Washington Post reporters Bob Woodward and Carl Bernstein in 1972 – was one of the biggest political mysteries in history.

In 2005, former FBI agent Mark Felt revealed that he was the confidential source, Woodward confirmed it, and decades of speculation in which folks suspected White House counsel John Dean, chief of staff Alexander Haig, speechwriter Pat Buchanan, and even White House press aide/later broadcast journalist Diane Sawyer to be possible candidates were over.

Now Felt’s story is told in this film based on the books, A G-Man’s Life: The FBI, Being Deep Throat, and the Struggle for Honor in Washington by Felt and John OConnor, that’s can be seen as ALL THE PRESIDENT’S MEN told from the point of view of, well, one of the President’s men although one that doesnt work for the President directly. A grim, stoic Liam Neeson plays Felt, who more than once is referred to as a G-Man’s G-Man.

The film opens on April 11, 1972, 203 days before the election for Richard M. Nixon’s second term, with Felt meeting with Dean (Michael C. Hall) and letting him know that his boss, J. Edgar Hoover, has files full of damaging secrets on everyone in power. “We’re the FBI,
 Felt says chillingly. “All your secrets are safe with us.”

However, after Hoover dies, Felt is passed over by Nixon for the job of FBI director, with one of the President’s shady yes-men, L. Patrick Gray portrayed by Martin Csokas, getting the prime position.

Gray attempts to squash Felt’s investigation of the Watergate break-in in June of ‘72, which if you don’t know your history, involved five men getting arrested for breaking into the Democratic National Committee headquarters at the Watergate, an office/apartment/hotel complex in Washington, D.C. The burglars were found to have ties to the CIA and later the White House, which led to the toppling of Nixon’s Presidency.

But I’m getting ahead of myself. It’s hard not to do as MARK FELT takes its time getting to the juicy stuff such as the famous parking garage meetings with Woodward (Julian Morris), because Landesman’s screenplay wants us to see what a solid, uncompromised government official Felt is. We learn that he and his wife, Audrey (an underused Diane Lane), are worried sick about their missing daughter who’s run off to join the counterculture or something (it was the ‘70s), but Felt is so by the book that he won’t use the power of the FBI to find her.

Neeson’s nuanced, grim performance as Felt is among his finest work, but the movie keeps trying to build up dramatic heft but never quite gets there. Daniel Pemberton’s overly pulsating score doesn’t help as it dominates too many scenes, and tries too hard to make everything more ominous. They should’ve learned from the minimalist soundtrack for ALL THE PRESIDENT’S MEN to use those edgy strains sparingly.

There’s also too many House of Cards-ish aerial shots of D.C. framed to make the town look evil, and the whole interior look of the film is dark blues and greys with Oliver Stone-style mood lighting. We get it – the Nixon era was dark and gloomy. Much like ALL THE PRESIDENT’S MEN (sorry, I can’t help bringing that movie up over and over), Nixon is only seen in archival footage on background TVs, but dammit if his sinister presence isn’t all over this tense, but sadly not too thrilling thriller.


As there are striking similarities with the situations surrounding our current President whose name I hate typing with the leaks, the cover-ups, the dishonesty etc. this tale couldn’t be more relevant, but this dry run through the facts doesn’t have enough narrative drive to make it essential viewing.

Felt is described in the film’s postscript as “one of the most impactful whistleblowers in American History,” but his portrait here lacks impact. The story of the Watergate scandal was, of course, so much better told in that 1976 movie I keep referring to because this film could never shake it out of my mind.

In other words, Neeson is fine as Felt, and, sure I’d rather see him in something like this instead of another TAKEN movie, but Deep Throat will always be Hal Holbrook to me.


More later…