A Landmark Stand for THE POST

The Post is a timely reminder of the importance of a free press holding government accountable even as it asks, “Can the government censor the press and tell it what to print?”  Filmed in near record time, this labor of love by director Steven Spielberg from a strong script (by Liz Hannah and Josh Singer) features a winning acting combo of Meryl Streep and Tom Hanks.

In 1971, analyst Daniel Ellsberg steals copies of a secret study (known as the Pentagon Papers) commissioned by Secretary of Defense Robert McNamara which chronicles how several Presidential administrations lied to the public about the Vietnam War when it was really a losing cause.  ‘The Papers’ become sought after by the Washington Post, whose owner, Kay Graham (Streep) is a novice running the newspaper of her late husband. Her close relationship with powerful leaders like McNamara puts her in an awkward position of friendship versus conscience.  When editor-in-chief Ben Bradlee (Hanks) capitalizes on a source for the papers, The Post, its reputation on the line, prepares to publish them at tremendous personal and professional risk for Graham and Bradlee and a likely court battle all the way to the Supreme Court. 

Streep has a great role as the initially tentative Graham, who must find her voice in a male dominated, corporate boardroom and a newspaper run by the headstrong Bradlee (winningly played by Hanks). A solid supporting cast is led by veterans Bob Odenkirk as a key reporter and Bruce Greenwood as McNamara.    

This serves as a prequel to the classic, All the President’s Men, and shows how the Post became a major player in journalism.  It also portrays good old fashioned, hard-nosed reporting when printing presses not computers generated news copy.  Well paced without sacrificing intimate moments, it’s a remarkable slice of history that parallels the current political climate and serves as a cautionary tale about some brave souls at a newspaper, particularly one courageous woman. 

**** of ****

A Special Love in CALL ME BY YOUR NAME

Sensitive direction by Luca Guadagnino from a screenplay adaptation by legendary filmmaker James Ivory (A Room With a View) highlight Call Me by Your Name, an delicate tale of adolescent love and features a breakout performance by Timothée Chalamet (Lady Bird). 

A Jewish family spends the summer of 1983 in Northern Italy where they welcome a grad student, Oliver (Armie Hammer has a pivotal role), who captivates the attention of their teenaged son, Elio (Chalamet).   Despite having a girlfriend, he is confused by his desires for the seemingly aloof, yet free spirited Oliver who is older and more mature. This dynamic plays out until Elio’s obsession for Oliver reaches a turning point as the summer winds down.   

The story is told from Elio’s point of view, and Chalamet, who is on screen nearly the entire film, portrays impressionable, young love that is natural and affecting as we feel his awkwardness, euphoria and pain.  The film requires patience on the part of its audience as it methodically builds this special relationship (though it makes no mention of the perceived age difference nor the coming of the AIDS epidemic), but by the end, the narrative culminates in a special heart-to-heart moment between Elio and his father (Michael Stuhlbarg) that resonates universally. 

Thoughtfully directed with subtle nuances that add texture to the experience, the film is not so much plot driven as emotion driven.  The location’s gorgeous setting adds to the sensuous backdrop that is punctuated by mood enhancing songs. It’s a very honest (and suggestive), heartfelt depiction of innocence and passion and about individuals trying to live their authentic selves.  There is also a memorable final shot.  A likely candidate for major Oscar nominations.

***1/2 of **** stars

THE SHAPE OF WATER’s Unusual Love Story

Director Guillermo del Toro has reached into his film memories and distilled a wondrous, modern fairy tale for adults that will fascinate and move its audience in The Shape of Water. 

Set in Baltimore in 1962, a time of racism and homophobia, Elisa (Sally Hawkins), a mute cleaner at a government facility, lives in her own little world, and together with her coworker, Zelda (Octavia Spencer), and her neighbor, Giles (Richard Jenkins), form a bond of outcasts: one unable to speak, one black female, and one gay male.  When Strickland (Michael Shannon at his creepiest), security head with a cruel and violent disposition, brings in a mysterious water creature for study, Elisa becomes fascinated and enamored with it and hatches a daring plan to save her amphibious friend as the military and even the Russians close in. Unexpected alliances are formed which culminates in a heartbreaking, transformative finish. 

Hawkins excels in a brave, challenging role relying exclusively on her facial expressions and body language. Her Elisa is a romantic with desires and sexuality that become amplified by the creature, a remarkable creation which was inspired by del Toro’s childhood love of The Creature from the Black Lagoon.

A recurring theme is about connecting to one another as each major character searches for a meaningful relationship; it’s about lonely people helping each other.  Beautifully shot and scored from beginning to end, the film has a nice period flavor and paints a vivid, personal world; you know you are in the hands of a master whose fertile imagination knows no bounds.  This romantic fable ranks up there with the director’s great Pan’s Labyrinth. Its magic is undeniable, and its emotional effect profound. (Someone will win an Oscar.) Del Toro has a classic.

**** of **** stars