Review: The Post (UK Cert 12A)

In 1971, the New York Times published a series of articles based on 'The Pentagon Papers'- leaked classified reports which demonstrated that successive US administrations (from Truman to Johnson) had in effect lied to the American public about the efficacy of the Vietnam War. When Richard Nixon used his position as President to bar the New York Times from publishing anything further, the Washington Post picked up the baton. 

This forms the basis of The Post, a biographical drama written by Liz Hannah and Josh Singer, and directed by Stephen Spielberg. 

Meryl Streep is superb as Washington Post publisher Katharine 'Kay' Graham. Taking on responsibility for the newspaper after the death of her husband, she is still trying to find her feet when the maelstrom over the Pentagon Papers hits. It's odd seeing Streep in a role where she's mousy or submissive; certainly, she starts that way. Graham is talked over, patronised to, and almost dismissed by some of the men who work for her. So it's a pleasure when she finds her voice and is unequivocal in her support to publish. She also has a powerful scene with Bruce Greenwood (who plays Secretary of Defence Robert McNamara) where Graham confronts McNamara about the lies he's told and the lives that have been lost as a consequence of them. Unsurprisingly, Streep got an unparalleled twenty-first acting Oscar nomination for her performance, and it's well deserved. 

Tom Hanks is good as editor-in-chief Ben Bradlee. Trying to enhance the reputation of the Post (from a 'small family paper'), he seizes on the Papers- and the court injunction against The New York Times, who initially published the first tranche of articles covering the revelations in the Papers- to get ahead of the game. He is the strongest advocate for freedom of the press- essentially 'publish and be damned'- but also realises what's at stake if the White House takes the paper to court. A fine performance.

Other performances of note are Sarah Paulson as Bradlee's wife Tony, who is underused but used to good effect when she is on screen; she gets a strong scene where she tries to explain how Kay would be feeling after being dismissed for so long; there's good work by Bob Odenkirk and Carrie Coon as two members of the editorial team who help to break the Post's coverage of the Papers, and a nice turn by Michael Stuhlbarg who plays New York Times editor A.M. Rosenthal. Bruce Greenwood is great as McNamara, and Matthew Rhys lends an air of defeated disillusionment to Daniel Ellsberg, the man who leaked the Papers. 

Like Spotlight and All The President's Men before it, The Post is also a paean to investigative journalism before the days of the Internet. Tracking down leads, going through reams and reams of paper to find their story; there's a great scene at Bradlee's house when the team are literally wading through hundreds of pages of the Papers (none of which are in order) to find what they'll lead with. There's also a real joy in seeing the front page being painstakingly typeset and a wonderful sequence where you see the entire newspaper being printed. 

Spielberg is a master storyteller and he elicits great performances from his cast. Because this is a biopic- and the result is a matter of public record- the whole story is less 'will they publish?' as 'how did it happen?'. There's a wonderful score by John Williams to add to the mood and the cinematography of Janusz Kaminski- from the boardrooms of Washington to the jungles of Vietnam, a swanky party to a busy newsroom- is superb. 

Not only is it a well made film, The Post is an important reminder of the need for freedom of the press to challenge and to hold to account those in positions of power. 

Rating: 4 out of 5

Tez

Review: Carol (UK Cert 15)

In 1950s New York, aspiring photographer Therese Belivet works in a department store. Into her life comes Carol Aird, an older woman who is looking for a Christmas present for her daughter. After Therese returns a pair of gloves that Carol left on her desk, their relationship deepens and Therese finds herself falling for Carol.

Patricia Highsmith (The Two Faces Of January, The Talented Mr. Ripley) originally published the novel The Price Of Salt under a pseudonym in 1952. The novel was republished under her own name, and retitled Carol, in 1990. Now, director Todd Haynes (I'm Not There.,Velvet Goldmine) with Rooney Mara and Cate Blanchett as the leads.  

Cate Blanchett is just superb as Carol, glamorous and positively oozing classic Hollywood elegance. She evokes memories of Lauren Bacall and Rita Hayworth throughout. Carol is divorcing from her husband Harge (Kyle Chandler) due to a previous affair she had with another female friend which has ramifications over custody of her daughter. There are several powerful scenes where Blanchett absolutely shines, none less than an emotional meeting towards the end with her lawyers. You really feel for her throughout. It's one of Blanchett's finest performances and any awards hype she gets is truly deserved.

If Blanchett evokes Bacall, the one thought going through my head was how much Rooney Mara reminds me of Audrey Hepburn. Mara's performance as Therese is similarly excellent, really selling the emotional confusion as Therese comes to terms with her feelings for Carol- there's a particularly nice scene where she obliquely discusses it with her boyfriend Richard (Jake Lacy) who dismisses it as a 'crush'. What's also lovely is you can see Therese really blossom as a character, starting out as quite naive before becoming more grounded as the film goes on. Therese is in no way a supporting character, she's every bit a lead. 

The supporting cast are all good. Lacy and Chandler could easily have come off as brutish macho stereotypes but both put in strong performances as they come to terms with Therese and Carol's relationship, although actions which Harge takes throughout the course of the film undeniably put your sympathy at Carol's feet. There's also a stellar turn by Sarah Paulson (who really should be a better known actress than she is) as Abby, Carol's friend and former lover. 

Under a different director and in the hands of a lesser actress, Carol could have come across as a predatory lesbian who grooms the unworldly Therese. Thankfully, whilst Carol is the driving force behind their relationship, there's never any sense of coercion or manipulation. Their relationship is tender, tentative, initially restrained before breaking out into passion. It's real. It's rare to see a relationship between two women that is presented as honestly as it is here (especially when you consider the period setting). That's thanks in no small part to the wonderful script by Phyllis Nagy. 

The entire period detail of the film is immaculate, so massive props to the production designer, set decorators, costume, hair and make-up whose combined talents make this a sublime film to look at. 

This would work as a great companion piece to Haynes' 2002 film Far From Heaven (starring Julianne Moore, Dennis Haysbert and Dennis Quaid) which similarly took a look at relationships that would have been considered taboo. Both films have the period setting and Douglas Sirk aesthetic, yet quietly subvert them. Both features stand-out performances by their lead actresses and their supporting casts. Both films are a joy for cinephiles.

Rating: 5 out of 5

Tez