Popular Post The Illustrious Jerry 3,356 Posted May 17, 2019 Popular Post Share Posted May 17, 2019 THE POST THE FILM 2017’s The Post marks Steven Spielberg’s and John Williams’ 28th collaboration, and it stands as their most recent collective project. While it’s certainly not the most famous or memorable of their movies together (although it needn’t be anyways), the venture offers a top-tier film and score. I was disappointed in The Post upon my first viewing; it felt like a lacklustre showing on a few levels, but this was an opinion based merely on poor circumstances. I had hit play on the movie at 11:30 pm one night in December and fell asleep before things could get too interesting. I eventually finished it, but something about the nature of the showing disrupted my reception of it. So, after a few months I decided to give it another shot, after I gave it a dull two and a half stars out of five. I assure you that my thoughts have changed, and for the better, no less. It was terribly hard to initially push back the Oscar-bait stigma that seeped into my mind from various comments and articles. In fact, the first time I completely believed in this notion, and I still must admit that The Post carries all the characteristics that would support such a claim. I mean, come on! Spielberg directing a pro-press drama starring Meryl Streep and Tom Hanks, released in a time where the media is being depicted by some (or one) of the world’s most influential person(s) as an enemy to society? It’s screaming for golden statues, especially the way the Oscars seemed to have turned in awarding socially relevant cinema despite the craftmanship perhaps being subpar to that of other flicks that don’t make such statements. However, this time I’ve learned to look past that, because such an ensemble as this should be embraced rather than scorned. The Post follows The Washington Post, then a local newspaper for the upper class, in a debacle against the Nixon administration after an information leak revealed 22 years of government secrets regarding American involvement in Vietnam. Owner and publisher of The Washington Post, Katharine Graham (Meryl Streep), prepares to launch her business in to the stock market as a means of strengthening financial assets. The mantra is that quality and profitability go “hand in hand". Streep is certainly an incredible actress, and I feel that this was a very strong performance on her part. Editor-in-chief Ben Bradlee (Tom Hanks) knows what he wants to cover and who he wants to cover it. His introductory scenes see him as being quick-tempered and sharp. He’ll tell you what to do, not the other way around. I used to feel that the big names weighed down their surroundings, at least in this case, but my views have changed in that regard too. The two leads are the front runners of the cast, obviously. Supporting actors include Sarah Paulson, Bob Odenkirk, Tracy Letts, Bradley Whittford, and Bruce Greenwood, whose role as Secretary of Defense Robert McNamara is spot-on. Visually The Post is not particularly striking, at least not at first glance. However, there are plenty of camera movements (eg. following shots to perfection, gradual facial zoom-ins, etc.) that make up a delightful aspect of this movie, which is no surprise coming from Spielberg and Kaminski. There was one steady shot that really stood out to me, where the camera would continuously circle around a conversation in perfect harmony with the movements of the actors and the energy of the scenario. In brief, many of scenes were executed splendidly. The lighting, often distinct whites, warm yellows, or electric blues was quite appealing, and did its job well enough. There’s a general air of visual ambience to each scene. Kaminski states in an interview with Matt Grobar, “As filmmakers, we had to reflect that energy in the way we photographed the movie, knowing that the camera was going to move a lot. I had to create an environment where the actors were not inhibited by the lighting equipment within the frame, so they could go wherever they wanted, and the camera would follow them.” (See: https://deadline.com/2018/01/the-post-janusz-kaminski-cinematography-interview-news-1202230114/) The script, which I previously dismissed as tiring, is solid. At times, there’s hardly any room to breathe though; there are multiple scenes where characters talk over each other, which can either be a handicap or a tension creator. Other times, there’s a little more space. There’s a fair amount of good, constructive dialogue, and a smaller number of throwaway lines than I recalled. I would even go so far as to say that there were a few bold statements, but that was certainly to be expected. Spielberg’s typical integration of the troubled or dysfunctional family is not at all a major theme. Although there are very minor family traits, they don’t really depict the same honest human struggle that we’ve come to expect. It’s more of an independent personal journey for Graham to find her voice and for Bradlee to make a choice (granted, Katherine, as publisher and owner, has the final say). Of course, Spielberg can only press the family point so much, and he doesn’t have a great choice when it comes to basing a film off historical fact rather than entire fiction. Nonetheless, he somehow managed to do so with, say, Bridge of Spies and Lincoln, but those were certainly more allowing for such a thing compared to The Post. It’s easy to understand ways that some may not enjoy The Post, because I probably had similar thoughts at one point. But there’s a delightful appreciation of energy (a refreshing, non-action energy that we don’t often get in cinema nowadays) that’s consequential of Spielberg and Kaminski behind the camera with Streep and Hanks in front of it. It should be elaborated upon that there is next to no action, save the opening night battle in the Vietnam jungle, which is very concise, but reminds one of Spielberg’s impeccable on-screen battle brilliance (a la Saving Private Ryan). Of course, the coined Spielberg transition, which never ceases to be deliciously clever, is one of sound rather than images, and it’s quite good (although it may go unnoticed at first). The sonance essentially carries over from firing weaponry to the whir of a helicopter’s propellers, and it does so quite splendidly. The Post is well directed, and it is evident without watching any behind the scenes clips. It’s a far cry from being Spielberg’s best, but it’s just as far from being his worst. On a directorial level, as far as Spielberg himself is concerned, it’s a pretty spot-on average showing, and yet it’s still a better film than others best. RATING: **** out of ***** THE SCORE *Please note that all John Williams quotes are copied out based off my own hearing (aka they may not be word for word) from the "Arts & Entertainment: The Score" bonus feature on the DVD or Blu-Ray release of the film. There are some gaps and some edited out parts because I couldn't make out the words. The score to The Post is an enduring favourite for me. Since its release I've listened to it many times, and I always enjoy it. Williams noted that: "...We don't think of it as a particularly music-driven film as an adventure would be. But there are situations and scenes in The Post where the orchestra does provide a rhythm and even, you could say, an atmosphere of the printing process." Beginning with The Papers, a low and brooding cue that even throws in some quiet retro synths. Williams said that: "A couple of scenes have very light computerized electronic effects which are used […] where we see Ellsberg reading the Pentagon Papers, and in that 4 minutes or so, you hear orchestra again and then you hear electronics again, and your hear orchestra again, and electronics- it isn't as precise as electronics for the former Presidents and orchestra for Ellsberg, it's more […] a (morph?) shaping for computerized effect and what the orchestra's doing." The pinnacle track, The Presses Roll, embraces warm and vibrant string passages and an orchestral sound. Nixon's Order takes the energy down a tad, and begins to usher in shades of Williams familiar Americana scoring style. The Oak Room, 1971 and Two Martini Lunch are two lovely piano pieces that are so very warm and welcoming. Who can deny the energy and vigor of Setting the Type, which introduces an allegro con brio motif, which I feel had potential to be developed into something more stylistically fugal. It certainly bounces around the string section to great effect. Mother and Daughter is perhaps the most "Williams - Americana" track on the album, employing a lovely piano melody before bringing in the strings for a final passage. Scanning the Papers and Deciding to Publish make up another facet of the score's personality, one that includes a bit more suspense. It's really one of my favourite Williams cues of this nature. Williams said: "Among other things, this film has, to my eyes, a near perfect performance by Meryl Streep. There's one particular scene where she makes the decision to go ahead and print this material, and the camera's on her face, which tells a lot of story. We don't have to do much music, but we have to do something. And there's a long, very quiet accompaniment to her telephone call, and Steven was crazy about that: how much could we increase volume and speed as the camera pulls in to here eyes? And it becomes a very, very important part of the physiological aspect that takes place when we have to deal with something like that." The finale, The Court's Decision and End Credits, is an appropriately arranged culmination of the score, although I believe the End Credits are just edited segments from other cues. The Post has been one of my most frequently listened to scores of the last year. Williams writing for the string section, the rest of the orchestra (as Tom Hanks said when he visited the recording sessions, "More French horns, John."), and the piano make the album very relistenable. To close, Williams reminded me of his wonderful humility and great friendship with Steven Spielberg by saying: "I hope that what I've done for his projects has been and will be remotely worthy of what he offers me." RATING: ***** out of ***** Disco Stu, Jurassic Shark, Will and 3 others 6 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,075 Posted May 17, 2019 Share Posted May 17, 2019 Hey Jerry, you forgot half a star! Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted May 17, 2019 Author Share Posted May 17, 2019 Did I? I'm not great at rating music, more just reviewing it. I suppose I could bump it up. Link to comment Share on other sites More sharing options...
Jurassic Shark 12,075 Posted May 18, 2019 Share Posted May 18, 2019 Rating is subjective anyway. I was just agreeing that this is a damn fine score! 11 hours ago, The Illustrious Jerry said: there’s a delightful appreciation of energy (a refreshing, non-action energy that we don’t often get in cinema nowadays) Indeed! Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted May 18, 2019 Author Share Posted May 18, 2019 10 hours ago, Jurassic Shark said: Rating is subjective anyway. I was just agreeing that this is a damn fine score! Yeah, I'm very careful about how I rate things. I don't just throw around five stars, but that sometimes means not giving full credit where it's deserved. 10 hours ago, Jurassic Shark said: Indeed! Oh yeah! Williams is very contributive to this, but the franticness of the newsroom setting in the case of legal tension and moral decision-making is where this aspect can be pinpointed. Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Hurwitz Fan 30 Posted May 18, 2019 Share Posted May 18, 2019 ... Link to comment Share on other sites More sharing options...
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