There is a scene in 20th Century Fox’s Best Picture nominee, The Post, in which a young (Level 1) woman (Level 2), of nebulous color, perhaps Hispanic or Idian (Level 3), is berated by a stodgy older male lawyer for being late despite the fact it obviously was not her fault (Level 4).
I sat back in the over-sized theater recliner as I chewed popcorn and smugly relished the scene despite its egregious Virtue Preach. I thought now that is what I was expecting from this flick.
I do not enter a movie theater lightly when the featured spectacle is steered by elite Hollywoodites in the form of its highest profile ardent Liberals, Meryl Streep, Tom Hanks and Steven Spielberg, and expect to not witness a flood of social justice editorializing to ensue. In fact I would be downright shocked if the movie stuck to the story without the need to inject at least one left-wing trope over the next two hours of run time. Oddly, The Post had moved along quite well up to this point as it adhered to the story, focusing on the “big picture” despite its lefty participants, managing to avoid liberal fetishes; that is, until the scene when The Post’s owner, Kathryn Graham, entered the Supreme Court, with her legal and editorial staff in tow. This is when the pretense of lofty Constitutional idealism surrendered to a mundane, rah-rah-strong-women narrative, and the movie, previously contending with the oppressive and deadly forces of elitist governmental malfeasance and its clash with the purity of our Constitutional vision, gave way to the rote interpersonal politics of equality and blather.
The Post is about lofty ideals, timeless ones. Its recounting and dramatization of the events surrounding the Pentagon Papers saga as it led up to, and fueled, the Vietnam War, is a message that presages Donald Trump (though Streep, et al, have conveniently used this movie as a vehicle to spout their lefty BS) and there exists a rudimentary level of the movie which is neither Left or Right, but declares the America, a democracy we know and cherish. Unfortunately, much of the Left has seen fit to use these grandiose, archetypal American values as condemnatory tools against Donald Trump in a cynical and intellectually lazy manner. The Post is a fantastic movie when viewed from the vast perspective allotting for the American experiment as set in motion by the Founding Fathers. Unfortunately The Post degenerates into pithy polemics of the moment, for the creative crew behind the movie could not desist from injecting their anti-Trump propagandizing into a story that is about the American experiment, not about their flighty agenda and pussy hats.
On another level, the left has usurped the First Amendment holy grail and used to it justify a press which is free only insofar as it spouts left wing talking points. The Left doesn’t care about journalistic objectivity, or about the check on governmental abuse of power provided by a free vibrant press. In fact, Donald Trump’s nuanced relationship with the press finds much of its roots in the fact that today’s press, ostensibly enjoying its innate Constitutional freedoms, has sold its soul to to the corporate devil, and furthermore, abuses said liberty in order to perpetuate the trendy, popular politics of the moment at the expense of gritty subjectivity that benefits all citizens. The mainstream press is populated by pussyfied rags collectively spouting the unofficial talking points of the Liberalentsia. They do no report; they cheer. And they have created an industry of chiding and hounding the Left’s villain-of-the-moment, all behind the veneer of investigatory reporting and freedom of the press. And a major Hollywood Oscar undertaking like The Post pushes the Industry airheads deeper into a hypocritical cocoon from whence they spawn their liberal anomie.
For the record, I am a big fan of Meryl Streep. She chooses scripts that most affect me emotionally and intellectually. She is a tremendous actress.
As far as Steven Spielberg and Tom Hanks are concerned…bah. They suck ass. Can’t stand either of them. Pure self-gratuitous garbage is all we get from their collective creative bunghole. Inject a megadose of obligatory left-wing politics and you have a toxic brew of shit from those 2 guys.
Meryl, however: what a cinematic jewel. If she’d only learn to stay home, wear a robe and curlers, and focus on soap operas and celebrity gossip. We’d be so much better off. (All due respect to The Bridges of Madison County, greatest movie ever).