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If Alfred Hitchcock is the master of suspense, then the title of master of emotion worth pinned to Steven Spielberg. No matter how complicated the conspiracy and investigation in The Post, the director will highlight the personal lives of his characters in order to emphasize their inner turmoil. Spielberg's character is a man with a feeling that is trying to overcome his own shortcomings for good. As a result, although the name-dropping and streaking complex facts confuse you, the movie never feels empty. Since The Post is never entirely a matter of government conspiracy, We are occasionally exposed to some of the secret research on the involvement of the United States in the Vietnam War, which has been hidden from the public since the era of Harry S. Truman to Richard Nixon. However, this is not Spotlight let alone All the President's Men. Journalistic investigation plays a big role, but personal character upheaval takes precedence. The upheaval that sparked various ideological debates. Ben Bradlee (Tom Hanks), editor-in-chief of The Washington Post, felt compelled to publish the above research after The New York Times-the first media to uncover the conspiracy-was ordered by the court to stop loading the news because it was considered endangering government sustainability. 

 This ban certainly violates the first amendment of press freedom. When Ben is passionate, Katharine Graham (Meryl Streep) the newspaper owner is in doubt, because The Washington Post is in the process of selling shares to resolve the financial problems. Few problems arise, investors can escape. Not to mention the men on the board of directors often regulate Katharine which is less assertive and minimal experience. His best friend, Robert McNamara (Bruce Greenwood) is one of the most aggrieved parties for the exposure of conspiracy. How big is a person willing to sacrifice for the truth?

In its ideological exchange, Spielberg sometimes allows the actors to play the intensity of the scene. Because bringing Hanks and Streep on the screen is more than enough. As seen in the first moments Katharine and Ben together, when Spielberg did not move the camera in a long take. The dynamics of the atmosphere grows naturally as they throw opinions and jokes together. Hanks, as always, exudes magnetic charm, but Streep is more stunning. Full of doubt, speech that sounded with sound as if lost indeterminate. Once he is able to overcome his shortcomings, Streep is not a "sudden change", but a natural transformation that does not contradict characterization. 

Slowly closing the camera toward the object (track-in) to amplify the intensity is the fundamental strategy of the game. Spielberg repeatedly applied it to catch the emotion in the eyes of players, and not many directors with timing sensitivity as strong as himself. In Spielberg's hands, the Tom Hanks scene lining up the newspaper on the table can be so emotional. "It's not a party, it's a war". So said a character. Spielberg does make the political thriller nuanced this journalism like a watch. John Williams's music occasionally burst into the middle of the noisy newspaper office with typewriters, while tactical editing of Michael Kahn and Sarah Broshar was often instrumental in straining.

The Post uses a familiar storytelling formula, just as Nixon's suppression of the press becomes a familiar sight for the American public amid Trump's power now. Throughout the movie, there was a recording of Nixon's phone conversation that led to one of the most horrendous scandals, let alone if it was not Watergate. Scenarios made by Liz Hannah and Josh Singer make Watergate a cover for The Post as a reminder, how the government may always hide another secret, which could be bigger than ever. 

RATING (8/10)

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