‘The Post’ delivers a clear message of the power of printed word

Considering the magnitude of the crew behind "The Post," it's easy to be prepared for a powerhouse: Tom Hanks, Meryl Streep and a supporting cast of countless talent, and a crew that includes cinematographer Jausz Kaminski, editor Michael Kahn and directed by Steven Spielberg.

But as the saying goes, sometimes less is more.

"The Post" is not showy, flashy or glamorous (unless you consider the opulent garden parties attended by publisher Kay Graham, played by Streep). And because it does not pack the fireworks one might expect, it might be easy to overlook the solid, traditional narrative approach it takes to its subject matter.

The movie's focused approach to a complicated issue covers the week leading up to The Washington Post's decision to report on a history-changing leak of info about the American involvement in Vietnam. Adding to the drama was the timing of this decision, as the newspaper was on the cusp on making its initial public offering, which would obviously be influenced either way by its decision to publish or not.

There are other directors who might dramatize the event by choosing a variety of dizzying camera angles, or crafting a shout-filled screenplay filled with lives-in-the-balance speeches, but Spielberg turns the lights down, places the volume at an acceptable level and lets the story drive the film.

It helps that he has two leads who know how to modulate their performances accordingly. Streep is warm and inviting, and unafraid to play on her character's flaws when she wanders far from her comfort zone in terms of journalistic morals. Hanks plays crusty editor Ben Bradlee with his trademark appeal, so even at his most cantankerous, we find ourselves aligned with him.

The supporting cast is filled with familiar, dependable faces: Bruce Greenwood, Bradley Whitford, Michael Stuhlbarg and Bob Odenkirk, who all give the leads ample platform to shine, but understand when it is their own respective time to shine.

And while it may take a while to get its engine started, "The Post" hits cruising speed a third of the way through and maintains its velocity. It's often stated in the film industry that "you never notice good editing," and that is the case here. It glides into its main thrust after establishing a strong foundation between its leads, giving each equal time to weight their risky decisions.

There's inherent value in how straightforwardly "The Post" operates, which only enhances the dire consequences at risk when it comes to its proclamation of the value of a free and open press.

With more substance than style, "The Post" delivers a clear and undeniable message of the power of the printed word, and it's just as relevant today as it was decades ago when a government attempted to silence it.