The newspaper that would not kowtow

thepost

WAITING to hear what’s what: Newsroom dynamics with the cast of The Post. Photograph courtesy foxmovies.com

THE MESSY BEAST of the print media, in all its procedural glory and inky mechanisms comes under scrutiny in this completely magnificent Steven Spielberg film that deals with the notorious Pentagon papers. Featuring Meryl Streep opposite Tom Hanks in the leads, it tells the story of the Washington Post, a family-run paper, which finds itself fighting beyond its size for national credibility in the face of secret government documents that contradict the need for the longevity of the Vietnam War.

And of course, you know how the film will end, but getting from point A to point B is not the primary point of the work. It’s a story about the early 1970s with all its sexism and women’s big hairdos, about the values that are projected by the media and about the need in the world for a free press. More than all of this, it’s a work that grants you gritty and wonderful insight into the pre-computer era energy of a newspaper newsroom, where the need for accuracy is tantamount and the smoke and stress of the pooled environment of committed professionals attests to the collaborative passion that made a print newspaper the beautiful thing it was.

Streep utterly shines in this complex role – Katharine Graham inherited her role as publisher of The Post when her husband, Phillip committed suicide in 1963. Armed with a fierce belief in the value of the paper and great loyalty to its heritage, she steered it through the muddy and oft bloody waters of the Pentagon papers to a victory that changed the nature of the media and government secrets, going forward. Streep embodies this woman who teeters between the cultural imperatives of men and women in a world run by men in suits and ties, with characteristic grace and elegance.

You will see interesting cameos by the likes of Michael Stuhlbarg – who you might recognise from the Coen brothers’ A Serious Man – in the role of Abe Rosenthal, the editor of the New York Times, as you will see beautiful reflections of the nub and texture of 1970s American social protocol. It’s a true tale of the meaning of integrity in a world on the cusp of madness, and is the kind of film you need to buy and keep in your repertoire of great classics.

Similar, in a sense, to the 1976 film The Network, written by Paddy Chayefsky and directed by Sidney Lumet, The Post offers astute insights into the value of the media in society. There are caveats enfolded into its nuances that point to the way in which society is broken or kept whole by the pen and opinion of the team of journalist, sub-editor and editor, who bring their readers what matters.

  • The Post is directed by Steven Spielberg and features a cast headed by Saul Alvarez, Celeste Arias, Kelly AuCoin, Tom Bair, Estelle Bajou, David Aaron Baker, Jordan Baker, Seth Barrish, David Beach, Will Blomker, Walter Brandes, Alison Brie, Dan Bittner, Susan Blackwell, Annika Boras, Dan Bucatinsky, Brendan Burke, Brian Burton, Philip Casnoff, Carrie Coon, Lilli Cooper, David Costable, John Henry Cox, Michael Cyril Creighton, Rick Crom, David Cross, Thaddeus Daniels, Juliana Davies, Johanna Day, Will Denton, Michael Devine, Brett Diggs, Curzon Dobell, Jon Donahue, Francis Dumaurier, Jennifer Dundas, Caleb Eberhardt, Gary Galone, Odiseas Georgiadis, Deborah Green, Bruce Greenwood, Tom Hanks, Pat Healy, Angus Hepburn, Rick Holmes, Christopher Innvar, Lauren Lim Jackson, Mark Jacoby, Austyn Johnson, Brittney Johnson, Cullen Oliver Johnson, Steven Kearney, JaQwan J Kelly, Leslie Kujo, Tracy Letts, Brent Langdon, Fenton Lawless, Ben Livingston, Jerry Lobrow, Kevin Loreque, Deirdre Lovejoy, Stephen Mailer, Ginger Mason, Hazel Mason, Don McCloskey, Carolyn McCormick, Gannon McHale, Robert McKay, Shawn Allen McLaughlin, Sean Meehan, Kelly Miller, Jessie Mueller, Joel Nagle, Patrick Noonan, Ned Noyes, Shaun O’Hagan, Bob Odenkirk, Alexander Sage Oyen, Sarah Paulson, Coral Peña, Matthew Piazzi, Mark Pinelli, Jesse Plemons, Frank Ridley, James Riordan, Matthew Rhys, Stephen Rowe, John Rue, Amy Russ, Stark Sands, Kaylyn Scardefield, Armand Schultz, Luke Slattery, Brett G Smith, Cotter Smith, Sasha Spielberg, Sawyer Spielberg, Meryl Streep, Michael Stuhlbarg, Justin Swain, Clarke Thorell, Kenneth Tigar, Joseph Tudisco, Sonny Valicenti, Anthony M Walker, Peter Van Wagner, Theis Weckesser, Aaron Roman Weiner, Jeremiah Wiggins, Steve Witting, Bradley Whitford, Gary Wilmes, Catherine Wolf and Zach Woods. It is written by Liz Hannah and Josh Singer, and produced by Kristie Macosko Krieger, it features creative input by John Williams (music), Janusz Kaminski (cinematography), Sarah Broshar and Michael Kahn (editing), Ellen Lewis (casting) Rick Carter (production design), and Ann Roth (costumes). Release date: January 26 2018.

 

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The scintillating horror of Doubt

Unrelenting: Sister Aloysius (Fiona Ramsay) and Sister James (Janna Ramos-Violante) hold moral authority in a place of worship. Photograph by Germaine de Larche, courtesy Auto & General Theatre on the Square.

Unrelenting: Sister Aloysius (Fiona Ramsay) and Sister James (Janna Ramos-Violante) hold moral authority in a place of worship. Photograph by Germaine de Larche, courtesy Auto & General Theatre on the Square.

What would you do if you suspected something appalling was happening in your midst, where an innocent child’s well-being was at stake, and the issue was a disaster you think you might have the power to avert? This is the kind of dilemma embraced in James Cuningham’s stage version of John Patrick Shanley’s Pulitzer prize-winning play Doubt: A Parable.

It is not so much the 2008 film version featuring Philip Seymour Hoffman and Meryl Streep that this play evokes, but Jean-Jacque Annaud’s 1986 interpretation of Umberto Eco’s Name of the Rose, in its engagement with the blind and stubborn faith of the establishment, played with unforgettable vehemence by Feodor Chaliapin Jr as Jorge and Volker Prechtel as Malachia, the priests who guard the sanctity of the library.

It is this fierce and dark tone created by the stylised set in juxtaposition with severe costumes and utterly honed performances by Fiona Ramsay and Janna Ramos-Violante that embraces the moral contradiction of the play that will haunt you. Ramsay, in particular, embodies the sense of a die-hard old nun without a glimmer of light in her outlook; terrifying to contemplate, but magnetic to behold. Her slight frame embodies something so massive and catastrophic clutching so tightly to the one-upmanship of religious sway, it is unforgettable.

Ramos-Violante is the younger nun, the foil to the tale. Opposite Ramsay’s Sister Aloysius, her Sister James is small fry, a woman easily threatened by the authority of church hierarchy in a misogynist world.

The prescience of this work, set as it is on the cusp of a kind of collapse of innocence of Western culture – just after the assassination of President JF Kennedy – cannot be overlooked, in our world of increasing religious fundamentalism, but also one of increasing social transparency, which sees the unravelling of so much horror that traditionally happened behind closed doors – and where the presentation of young boys and priests in the same sentence leads one to believe the worst.

And yet, unlike Aisling Walsh’s Song for a Raggy Boy (2003) which confronts the same issue, the subtlety in Cuningham’s direction and the collaborative energies of the cast, is almost more devastating, offset as it is by an utterly sterling cameo performance by Mwenya Kabwe as the child’s mother, which is pivotal to the whole work.

Doubt is a cleanly composed, terrifying piece of muscular, unpretentious theatre, unforgivably tight in its use of language, but also completely developed and three-dimensional in how it describes the dilemma. You don’t leave the environment armed with a healthy dollop of homophobia and self-righteous hatred of the establishment of the church education system. But you do leave in an emotional state of turbulence that might keep you awake.

  • Doubt: A Parable, written by John Patrick Shanley is directed by James Cuningham and designed by Tina Le Roux (lighting), Vaughn Sadie (set) and Margo Fleish (costumes). It is performed by Mwenya Kabwe, James MacEwan, Janna Ramos-Violante and Fiona Ramsay, at the Auto & General Theatre on the Square in Sandton, until August 15. 0118838606 or visit co.za