"The Post": What is the True History Behind The Washington Post?

When Steven Spielberg announced a collaboration with Tom Hanks and Meryl Streep on a film about the Pentagon Papers, all eyes were on them. With a top Hollywood director, a male actor known as "America's Conscience," and arguably the best actress in Hollywood history, the film was instantly a top contender for awards season.

The Pentagon Papers leak and the ensuing debate over the First Amendment, particularly the “New York Times Co. v. United States” case, redefine the role of media. In a time when accusations of "fake news" abound and relations between the White House and media are strained, Spielberg's rapid completion of the film was a revelation. Surprisingly, the focus was not on The New York Times, which played a central role in the Pentagon Papers leak, but on their competitor, The Washington Post. The Post, preparing to go public amidst the leak, faced not only political pressure but also financial strain from investors, making them a perfect embodiment of the embattled media and an excellent focal point for this ode to the "Fourth Estate."

Catherine Graham, the publisher of The Washington Post during this tumultuous period, adds another layer to the story. After her husband's suicide, Catherine, then 46, took over the publication, becoming one of the few female publishers and later the CEO of a Fortune 500 company. Her significant impact on The Washington Post and her interview with Chiang Ching-Kuo, announcing the end of martial law in Taiwan, make her an apt protagonist for the current climate, resonating with the "#metoo movement" and Hillary Clinton's nearly successful presidential bid.

Despite The New York Times' initial excavation of the Pentagon Papers and winning a Pulitzer Prize for it, and even though the Supreme Court case was titled “New York Times Co. v. United States,” the film still chose to focus on The Washington Post. This choice has understandably upset some editors and reporters from The New York Times, who have expressed anger and described the film's content as "unbelievable" and even "theft."

The portrayal of President Richard Nixon in the film is also contentious. Nixon is almost a stereotypical conspirator, seen only from the back and never fully humanized. Initially, the real Nixon was indifferent to the Pentagon Papers leak, as it primarily concerned the Kennedy and Johnson administrations, predating his presidency. However, Secretary of State Henry Kissinger convinced Nixon that such a high-level leak could severely damage the government's credibility. Subsequently, Nixon's administration took legal action against The New York Times and The Washington Post.

In addition, the film fabricates a scene where Ben Bradlee, editor of The Washington Post, played by Hanks, struggles to obtain a photo of Nixon's daughter's wedding, which The Washington Post was not allowed to cover. The film also falsely portrays The Washington Post as being barred from White House coverage after reporting on the Pentagon Papers. Nixon's portrayal in the film follows a tradition of depicting him as the antagonist, especially since he is the only president to resign from office, largely due to the Watergate scandal, which destroyed Americans' trust in government.

The film's political motivations are evident, especially in the current political climate where comparisons between Donald Trump and Nixon abound. Like Nixon, Trump faces impeachment threats and accusations, with his opponents hoping for a similar downfall. Trump's hostility towards mainstream media echoes Nixon's actions in the film.

Another subtle yet significant detail in the film is the acknowledgment of Bradlee and Graham's failure to hold Kennedy and Johnson accountable during their presidencies. The Pentagon Papers leak marked the beginning of an adversarial relationship between the media and the government. However, the cozy relationship of the past with Kennedy and Johnson raises questions about whether such relationships have truly ended.

In contrast, conservative commentators have criticized the media for treating Trump and Obama differently. The Atlantic, as early as 2013, questioned the media's gentle treatment of Obama. CNN anchor Jack Tapper admitted that the media's support for Obama sometimes exempted him from accountability for false statements. The Obama administration, despite its progressive image, aggressively pursued whistleblowers under the Espionage Act more than all previous administrations combined. This aggressive stance towards leaks and control over information was described by former Washington Post editor Leonard Downie as the "most aggressive" since Nixon.

With its overt political critique, “The Washington Post” movie brings together Spielberg, Hanks, Streep, and other familiar faces from television. Its urgency contrasts with the fairy-tale romanticism of the Oscar-winning “The Shape of Water,” which tells a story of marginalized groups overcoming evil but in a more Hollywood dream-like manner.

Overall, “The Washington Post” clearly has political intentions beyond its cinematic storytelling, reflecting the current political landscape and media-government dynamics.