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The Post (film)

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The Post

Theatrical release poster

Directed by Steven Spielberg

 Steven Spielberg
Produced by
 Kristie Macosko Krieger
 Amy Pascal

Written by  Liz Hannah


 Josh Singer

Starring  Meryl Streep


 Tom Hanks
 Sarah Paulson
 Bob Odenkirk
 Tracy Letts
 Bradley Whitford
 Bruce Greenwood
 Matthew Rhys

Music by John Williams


Cinematography Janusz Kamiński

Edited by  Michael Kahn


 Sarah Broshar

Production  DreamWorks Pictures


company  20th Century Fox[1]
 Amblin Entertainment[1]
 Participant Media[2]
 Pascal Pictures[1]
 Star Thrower Entertainment[1]
 TSG Entertainment
 Amblin Partners

Distributed by  20th Century Fox


(United States)[1]
 Universal Pictures
(International)

Release date  December 14, 2017(Newseum)


 December 22, 2017(United States)

Running time 116 minutes[3]

Country United States

Language English

Budget $50 million[4]

Box office $153.9 million[5]

The Post is a 2017 American historical political thriller film[6][7] directed and produced by Steven
Spielberg and written by Liz Hannahand Josh Singer. It stars Meryl Streep as Katharine Graham,
the first female publisher of a major American newspaper, and Tom Hanks as Ben Bradlee, the
executive editor of The Washington Post, with Sarah Paulson, Bob Odenkirk, Tracy
Letts, Bradley Whitford, Bruce Greenwood, Carrie Coon, and Matthew Rhys in supporting roles.
Set in the early 1970s, The Post depicts the true story of attempts by journalists at The
Washington Post to publish the Pentagon Papers, classified documents regarding the 30-year
involvement of the United States government in the Vietnam War.
Principal photography began in New York City in May 2017. The film premiered at
the Newseum in Washington, D.C. on December 14, 2017 and began a limited release in the
United States on December 22, 2017. It had a wide release on January 12, 2018, and has
grossed over $153 million worldwide.
The film received positive reviews, with critics praising the performances in the film (particularly
those of Streep, Hanks, and Odenkirk) and noting the references and allusions to the
presidencies of Richard Nixon and Donald Trump.[8][9] The Post was chosen by the National
Board of Review as the best film of 2017 and was named as one of the top 10 films of the year
by Time and the American Film Institute.[10][11][12] The film was nominated for Best Picture and Best
Actress (for Streep) at the 90th Academy Awards, and also received six nominations at the 75th
Golden Globe Awards: Best Motion Picture – Drama, Best Director, Best Actress – Drama (for
Streep), Best Actor – Drama (for Hanks), Best Screenplay and Best Original Score.[13]

Contents
[hide]

 1Plot
 2Cast
 3Production
o 3.1Filming
o 3.2Costume design
o 3.3Music
 3.3.1Track listing
 4Release
o 4.1Marketing
 5Reception
o 5.1Box office
o 5.2Critical response
o 5.3Portrayal of The New York Times
o 5.4Accolades
 6Notes
 7See also
 8References
 9External links

Plot[edit]
In 1966 Vietnam, State Dept. military analyst Daniel Ellsberg accompanies U.S. troops in
combat, documenting the progress of U.S. military activities in the region for Secretary of
Defense Robert McNamara. On the return flight home, McNamara expresses to Ellsberg and
President Lyndon Johnson his view that the war in Vietnam is hopeless, yet, upon landing,
McNamara expresses his confidence in the war effort. Ellsberg overhears this, and becomes
disillusioned. Years later, now working for the RAND Corporation, a civilian military contractor,
Ellsberg surreptitiously photocopies classified reports documenting the country's decades-long
involvement in the conflict in Vietnam, dating back to the Truman administration. Ellsberg then
leaks these documents to reporters at The New York Times.
Newspaper heiress Katharine Graham tries to balance her social life with her responsibility as
owner and publisher of The Washington Post, following the deaths of her husband, and her
father. She is troubled over preparations for the newspaper's stock market launch, a move she
recognizes as important for strengthening the paper's economic stability. Graham lacks
experience and is frequently overruled by more assertive men who advise or work for her, such
as editor-in-chief Ben Bradlee, and board member Arthur Parsons. Bradlee tries in vain to
match The New York Times's ability to get scoops. Meanwhile, McNamara, Graham's longtime
friend, confides in her that he is to be the subject of unflattering coverage by the Times. The story
turns out to be an exposé of the government's long-running deception of the American public.
However, the series is halted by a court injunction against further publication by the Times.
Post assistant editor Ben Bagdikian tracks down Ellsberg as the source for the leak, who
provides Bagdikian with copies of the same material given to the Times. A hand-picked team
of Post reporters sorts through the piles of papers, searching for the headline stories. The
lawyers for the Post advise against publishing the material, lest the Nixon administration bring
criminal charges against them. Graham talks to McNamara, Bradlee, and trusted Post chairman
Fritz Beebe, agonizing over the decision of whether to publish. The situation is made even more
complicated when the Post's lawyers discover that Bagdikian's source is the same as
the Times's, possibly putting Graham in contempt of court. If charges are brought against the
company, Graham could destroy the newspaper she sees as a family legacy. Alternately, if she
were to win any legal challenge, the Post could instead establish itself as an important
journalistic institution. She chooses to run the story.
The White House retaliates, and in short order the Post and Times appear together before the
Supreme Court to plead their First Amendment argument for the right to publish the material.
Meanwhile, newspapers across the country pick up the story in solidarity with
the Post and Times. The court rules 6–3 in the newspapers' favor, vindicating Graham's decision.
Nixon demands that the Post should be barred from the White House. One year later, a security
guard discovers a break-in in progress at the Watergate complex.

Cast[edit]
 Meryl Streep as Katharine Graham
 Tom Hanks as Ben Bradlee
 Sarah Paulson as Antoinette "Tony" Pinchot Bradlee
 Bob Odenkirk as Ben Bagdikian
 Tracy Letts as Fritz Beebe
 Bradley Whitford as Arthur Parsons
 Bruce Greenwood as Robert McNamara
 Matthew Rhys as Daniel Ellsberg
 Alison Brie as Lally Graham
 Carrie Coon as Meg Greenfield
 Jesse Plemons as Roger Clark
 David Cross as Howard Simons
 Michael Stuhlbarg as A. M. Rosenthal
 Zach Woods as Anthony Essaye
 Pat Healy as Philip L. Geyelin
 John Rue as Gene Patterson
 Rick Holmes as Murrey Marder
 Philip Casnoff as Chalmers Roberts
 Jessie Mueller as Judith Martin
 Stark Sands as Donald E. Graham
 Michael Cyril Creighton as Jake
 Brent Langdon as Paul Ignatius
 Christopher Innvar as James L. Greenfield
 James Riordan as Vice Admiral Joseph Francis Blouin
 Kelly AuCoin as Assistant Attorney General Maroney
 Cotter Smith as William Macomber
 Jennifer Dundas as Liz Hylton

Production[edit]
In October 2016 Amy Pascal won a bid for the rights to the screenplay The Post, written by Liz
Hannah.[14] In February 2017, Steven Spielberg had halted pre-production on The Kidnapping of
Edgardo Mortara after a casting setback, and consequently opened his schedule to other
potential films to direct.[4] The following month, it was announced that Spielberg was in
negotiations to direct and produce the film, with Meryl Streep and Tom Hanks in talks for the
roles of Katharine Graham and Ben Bradlee, respectively.[15] The Postis the first time that
Spielberg, Streep, and Hanks had all worked together on a film.[16][17]
Spielberg read the screenplay and decided to direct the film as soon as possible, citing that
"when I read the first draft of the script, this wasn't something that could wait three years or two
years — this was a story I felt we needed to tell today."[18] Spielberg worked on The Post while
post-production work continued on the visual-effects-heavy Ready Player One, a situation
familiar to him from concurrently producing, in the early 1990s, Jurassic Park and Schindler's
List.[19] Josh Singer was hired to re-write the screenplay ten weeks before filming.[20]
As filming commenced, a number of New York Times figures who were associated with
the Pentagon Papers case—among them James Greenfield, James Goodale, Allan Siegal,
and Max Frankel—objected to the film's production due to the script's lack of emphasis on
the Times' role in breaking the story.[21] Goodale, who was at the time the Times's in-house
counsel, later called the film "a good movie but bad history."[22]
Filming[edit]
The film began principal photography in New York on May 30, 2017.[23] On June 6, 2017, it was
announced that the project, retitled The Papers, would also star Alison Brie, Carrie Coon, David
Cross, Bruce Greenwood, Tracy Letts, Bob Odenkirk, Sarah Paulson, Jesse Plemons, Matthew
Rhys, Michael Stuhlbarg, Bradley Whitford, and Zach Woods.[24] On August 25, 2017, the film's
title reverted to The Post.[25] Spielberg finished the final cut of the film on November 6, 2017, with
the final sound mix also completed along with the musical score a week later, on November 13.[26]
Costume design[edit]
Writing for The New York Times, Manogla Dargis indicated some high points in the costume
design used in the film stating, "The costume designer Ann Roth subtly brightens Katharine,
taking her from leaden gray to free-flowing gold.".[27]
Music[edit]
When Steven first approached me about [The Post], we talked about Kay Graham and Ben Bradlee and what
opportunities the film might present for me. When I've thought about it, I've never been in a newsroom – you
know, with the clattering of a thousand typewriters in those days... Now no one's using them, it's all silent. But it
must have been quite a noisy environment, really – everyone running back and forth. So I thought, "Well, how are
you gonna get any music in a newsroom?"

—John Williams on composing the score

The score for the film was written by John Williams; it is his 28th collaboration with
Spielberg.[28] The music is a combination of traditional orchestral instrumentation and what
Williams has called "very light, computerised electronic effects"; .[29] Williams was originally
attached to write the music for Spielberg's Ready Player One, but, because both films had similar
post-production schedules, Williams chose to work on The Post, while Alan Silvestri composed
for Ready Player One.[29]
Recording began on October 30, 2017 in Los Angeles.[30] The soundtrack was released digitally
by Sony Classical Records on December 22, 2017 and in physical form on January 12, 2018.[31]

The Post (Original Motion Picture Soundtrack)

Film score by John Williams

Released December 22, 2017 (Digital)

January 12, 2018 (Physical)

Genre Soundtrack

Length 40:10
Label Sony Classical

Producer John Williams

John Williams chronology

Star Wars: The Post


The Last Jedi (2017)
(2017)

Track listing[edit]
No. Title Length

1. "The Papers" 3:56

2. "The Presses Roll" 5:01

3. "Nixon's Order" 1:47

4. "The Oak Room, 1971" 1:46

5. "Setting the Type" 2:34

6. "Mother and Daughter" 3:23

7. "Scanning the Papers" 2:23

8. "Two Martini Lunch" 2:34

9. "Deciding to Publish" 5:42

10. "The Court's Decision and End Credits" 11:04

Total length: 40:10

Release[edit]
The Post premiered at the Newseum in Washington, D.C. on December 14, 2017.[32] It began a
limited theatrical release in the United States on December 22, 2017, and a wide release on
January 12, 2018.[33] The film is distributed internationally through Amblin Partners' distribution
agreements with Universal Pictures, Reliance Entertainment, and Entertainment One
Films.[34] The film was released by Reliance in India.[35] Tom Hanks has expressed disinterest in
appearing at a potential White House screening for Donald Trump.[36]
Marketing[edit]
The first official image from The Post was released on October 31, 2017.[37] The trailer for The
Post premiered exclusively on The Late Show with Stephen Colbert, on November 7,
2017,[38] and the film's poster, designed by BLT Communications, was released the next
day.[39][40] The first TV spot, titled "Uncover the Truth", was released on November 21, 2017.[41][42]

Reception[edit]
Box office[edit]
As of March 5, 2018, The Post has grossed $80.5 million in the United States and Canada, and
$73.4 million in other territories, for a worldwide total of $153.9 million, against a production
budget of $50 million.[5]
During The Post's limited opening weekend, December 22 to 24, it grossed $526,011 (and a total
of $762,057 over the four-day Christmas weekend) from nine theaters. The following weekend,
the film grossed $561,080 for a per-theater average of $62,342, one of the highest of
2017.[43] The film had its wide release alongside the openings of The Commuter, Paddington
2 and Proud Mary, and was projected to gross around $20 million from 2,819 theaters over the
weekend.[44] It made $5.9 million on its first day and $18.6 million over the weekend (and a four-
day MLK weekend total of $23.4 million), finishing second at the box office behind
holdover Jumanji: Welcome to the Jungle.[45] 66% of its opening weekend audience was over the
age of 35.[46] It dropped 37% the following weekend to $12.2 million, finishing 4th
behind Jumanji and newcomers 12 Strong and Den of Thieves.[47] It dropped to 5th in its third
week of wide release, grossing $8.9 million.[48]
Critical response[edit]
On review aggregator Rotten Tomatoes, the film has an approval rating of 88% based on 317
reviews, with an average rating of 7.9/10. The site's critical consensus reads, "The Post's period
setting belies its bitingly timely themes, brought compellingly to life by director Steven Spielberg
and an outstanding ensemble cast."[49] On Metacritic, which assigns a normalized rating to
reviews, the film has a weighted average score of 83 out of 100, based on 51 critics, indicating
"universal acclaim".[50] Audiences polled by CinemaScore gave the film an average grade of "A"
on an A+ to F scale,[45][51] while comScore reported 63% of audience members gave the film a
"definite recommend".[46]
Alonso Duralde of TheWrap praised the acting and Spielberg's direction, though noted the script
as being too on-the-nose at times, saying, "The Post passes the trickiest tests of a historical
drama: It makes us understand that decisions that have been validated by the lens of history
were difficult ones to make in the moment, and it generates suspense over how all the pieces fell
into place to make those decisions come to fruition."[52] David Ehrlich of IndieWire gave the film
an A– and wrote: "Nobody needs to be reminded that history tends to go in circles, but The
Post is so vital because it captures the ecstasy of trying to break the chain and bend things
towards justice; defending the fundamental tenets of the Constitution hasn't been this much fun
since Hamilton."[53]
Chris Nashawaty, writing for Entertainment Weekly, gave the film a positive review, but also
compared it with previous journalism films such as All the President's Men and stating:
"Spielberg makes these crucial days in American history easy to follow. But if you look at The
Post next to something like All the President's Men, you see the difference between having a
story passively explained to you and actively helping to untangle it. That's a small quibble with an
urgent and impeccably acted film. But it's also the difference between a very good movie and a
great one."[54]
Manohla Dargis of The New York Times awarded the film an NYT Critic's Pick with a strong
acknowledgment of Spielberg as director stating, "Mostly, (the Post decision to publish) went
down fast, a pace that Mr. Spielberg conveys with accelerated rhythms, flying feet, racing
cameras and an enjoyably loose approach to the material. With his virtuosic, veteran crew, Mr.
Spielberg paints the scene vividly and with daubs of beauty; most notably, he creates distinct
visual realms for the story’s two main overlapping, at times colliding worlds. Katharine reigns
over one; at first she’s all but entombed in her darkly lighted, wood-paneled empire. Ben rules
the other, overseeing the talking and typing warriors of the glaring, noisily freewheeling
newsroom".[55]
Matt Bobkin, writing for Exclaim!, gave the film a 6 out of 10 score, saying the film "has all the
makings of an awards season hit, but is too calculated to reflect today's ragged, tenuous
sociopolitical climate."
Portrayal of The New York Times[edit]
The film downplays the role that journalists from The New York Times had in the leak of
the Pentagon Papers and emphasizes The Washington Post's involvement.[56][57] In an interview
with the Columbia Journalism Review, former New York Times associates James Greenfield,
who coordinated the Pentagon Papers project as the Times’ foreign editor; James Goodale,
the Times’ general counsel at the time; and Max Frankel, the Times' Washington bureau chief
when the Papers were published, criticized the film's more minor portrayal of the paper.[58] The
New York Times had not only published the Pentagon Papers before The Washington Post, but
had also set the stage for the major legal battle between the press and the United States
government.[56] The newspaper also won the 1972 Pulitzer Prize for Public Service for its
contributions. The 1972 Pulitzer jury of journalists noted in their recommendation not only the
significance of Daniel Ellsberg's Pentagon Papers leak, but also that of Times reporters Neil
Sheehan, Hedrick Smith, Fox Butterfield and E. W. Kenworthy, and stated that their effort was “a
combination of investigative reporting, analysis, research, and writing — all of which added to a
distinctly meritorious public service, not only for readers of The Times but also for an entire
nation.”[57] Goodale noted in an article for The Daily Beast that the Times published
the Papers after Ellsberg had leaked them to Sheehan, and further stated that the film "creates a
false impression that the Post was a major player in such publication. It’s as though Hollywood
had made a movie about the Times’ triumphant role in Watergate."[22] On PBS NewsHour,
Goodale further said, “Although a producer has artistic license, I think it should be limited in a
situation such as this, so that the public comes away with an understanding of what the true facts
are in this case . . . And I think that if you’re doing a movie now, when [President Donald] Trump
is picking on the press for ‘fake news,’ you want to be authentic. You don’t want to be in any way
fake.”[59]
Accolades[edit]

Date of
Award Category
ceremony

Best Actress Meryl

Best Actor Tom H

AARP's Movies for Grownups Awards February 5, 2018 Best Director Steven

Best Time Capsule The Po

Readers' Choice Poll The Po

Amy P
Academy Awards March 4, 2018 Best Picture
Kriege
Date of
Award Category
ceremony

Best Actress Meryl

Best Ensemble Cast – Casting Director Ellen L

Alliance of Women Film Journalists January 9, 2018

Best Woman Screenwriter Liz Ha

American Cinema Editors January 26, 2018 Best Edited Feature Film – Dramatic Micha

American Film Institute January 5, 2018 Top Ten Films of the Year The Po

Excellence in Production Design for a Period


Art Directors Guild January 27, 2018 Rick C
Film

Rori B
Casting Society of America January 18, 2018 Big Budget – Drama
Spran

Cinema For Peace Awards February 19, 2018 Most Valuable Film of the Year The Po

Best Acting Ensemble The ca

Best Actor Tom H

Best Actress Meryl

Critics' Choice Movie Awards January 11, 2018

Best Director Steven

Best Editing Micha

Best Original Screenplay Liz Ha


Date of
Award Category
ceremony

Best Picture The Po

Best Score John W

Best Film The Po

Best Director Steven

Dallas–Fort Worth Film Critics Association December 13, 2017

Best Actor Tom H

Best Actress Meryl

Best Ensemble The ca

Detroit Film Critics Society December 7, 2017

Best Screenplay Liz Ha

Florida Film Critics Circle December 23, 2017 Best Cinematography Janusz

Best Production Design Rick C

Georgia Film Critics Association January 12, 2018 Best Original Score John W

Best Ensemble The ca

Gold Derby Awards February 1, 2018 Best Actress Meryl

Golden Globe Awards January 7, 2018 Best Actor – Motion Picture Drama Tom H
Date of
Award Category
ceremony

Best Actress – Motion Picture Drama Meryl

Best Director Steven

Best Motion Picture – Drama The Po

Best Original Score John W

Best Screenplay Liz Ha

Best Director Steven

Best Original Screenplay Liz Ha

Houston Film Critics Society January 6, 2018

Best Picture The Po

Best Score John W

Humanitas Prize February 16, 2018 Feature – Drama Liz Ha

IndieWire Critics Poll December 19, 2017 Best Picture The Po

Best Actor Tom H

National Board of Review January 4, 2018 Best Actress Meryl

Best Film The Po


Date of
Award Category
ceremony

National Society of Film Critics January 6, 2018 Best Supporting Actor Micha

New York Film Critics Online December 10, 2017 Top 10 Films The Po

Online Film Critics Society December 28, 2017 Best Ensemble The ca

Amy P
Producers Guild of America Awards January 20, 2018 Best Theatrical Motion Picture
Kriege

Best Editing Micha

San Diego Film Critics Society December 11, 2017

Best Ensemble The ca

San Francisco Film Critics Circle December 10, 2017 Best Editing Micha

Best Picture of the Year The Po

Seattle Film Critics Society December 18, 2017 Best Actress Meryl

Best Ensemble The ca

Best Actor Tom H

Best Actress Meryl

St. Louis Film Critics Association December 17, 2017

Best Director Steven

Best Editing Micha


Date of
Award Category
ceremony

Best Original Score John W

Best Picture The Po

Best Actress Meryl

Washington D.C. Area Film Critics


December 8, 2017 Best Ensemble The ca
Association

Best Portrayal of Washington D.C. The Po

Women Film Critics Circle December 17, 2017 Karen Morley Award The Po

Notes[edit]
1. Jump up^ Also nominated for Call Me by Your Name and The Shape of Water

See also[edit]
 All the President's Men: 1976 Best Picture nominee about the Post's later efforts to break
the Watergate scandal, with Ben Bradlee also portrayed.
 The Most Dangerous Man in America (2009 Oscar-nominated documentary)
 The Pentagon Papers (2003 film)

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External links[edit]
 The Post on IMDb
 The Post at AllMovie
 The Post at History vs. Hollywood

[hide]

Steven Spielberg

 Filmography

 Awards and nominations

64)

1967)

8)

y ("Eyes" segment, 1969)

971)

vil (1972)

3)

nd Express (1974, also wrote)

nters of the Third Kind (1977, also wrote)

e Lost Ark (1981)

a-Terrestrial (1982)

e: The Movie ("Kick the Can" segment, 1983)

s and the Temple of Doom (1984)

rple (1985)

e Sun (1987)

s and the Last Crusade (1989)

9)
k (1993)

ist (1993)

rld: Jurassic Park(1997)

97)

te Ryan (1998)

Intelligence (2001, also wrote)

port (2002)

You Can (2002)

l (2004)

Worlds (2005)

5)

s and the Kingdom of the Crystal Skull (2008)

res of Tintin (2011)

2011)

2)

es (2015)

16)

17)

r One (2018)

Rodger of the Skies (1973)

1982, also produced)

(1985)

n Tail: Fievel Goes West (1991)

a Geisha (2005)

Fathers (2006)

Iwo Jima (2006)

1)
d-Foot Journey(2014)

ries (1985–87)

t (1996–97)

erica (1998)

berg bibliography

ners
rtainment

vision
s Television
n

oundation Institute for Visual History and Education


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