True to Type

We watched Steven Spielberg’s THE POST and then moved on to its sequel, ALL THE PRESIDENT’S MEN which, unusually for a sequel, was made forty years earlier. And it turned out to be the week screenwriter William Goldman died. ATPM is one of his best pieces, though he complained that writing it was very tough. It got him an Oscar, though, so that seems reasonable.

Comparing the two films was interesting. THE POST is solid stuff, as conventional as you’d expect from the Spielberg-Hanks-Streep teaming: “entertaining” is a very good word here. It has a certain forward impetus and there are nice bits of visual storytelling amid the gab and Spielberg’s skill at moving actors around as he moves his camera around is apparent. Hanks is fine, but no Jason Robards. Streep is great value. Alison Brie and Sarah Paulson are wasted but Bob Odenkirk gets some good business.

Kaminski shoots it in shades of gun-metal blue (not an obvious seventies look — more like DIE HARD) with the usual Spielberg God-light blasting over everyone’s shoulders but with crunchier blacks to point up all that clandestine power and subterfuge.

As a political response to the current times, it’s perhaps too polite, and you notice that when previous filmmakers like Pakula and company wanted to address the current situation, they addressed the current (or very recent) situation. They didn’t look back forty years for an peudo-analagous moment.

The great thing about a lot of seventies cinema is, it doesn’t seem to care if you’re watching. A friend said that about THE EXORCIST. Even THE EXORCIST, which wants to scare you, doesn’t really care if you’re watching or not. Your choice, it shrugs.

WHAM!

In THE POST, you can see the wheels go round: literally, with the fetishistic hot press shots of newspapers rolling out into the world. In ATPM, the source of dramatic tension is harder to place: in this one, typewriter keys descend from nowhere in abrupt, slamming ECU. The mechanism is concealed, off over there somewheres. Unlike Spielberg, Alan Pakula doesn’t seem to be trying to create tension, but there is nevertheless some crackling energy force underneath it all, created invisibly by the actors, the frame, the lighting.

I’m curious to look at Pakula’s later work for the Late Show Blogathon: I’m worried that he’ll have felt compelled to amp up the dramatics in his later thrillers, and I’m certain the scripts won’t be as good.

The secret wonder ingredient here is cinematographer Gordon Willis, who bonded with Pakula even more than with Coppola on THE GODFATHER — he seems to have shot nearly everything Pakula made (plus a bunch of key Woody Allens). He was a kind of Prince of Darkness, happy to let expensive sets and actors drop off into Stygian gloom if it served his sense of the scene. When he filmed car interiors, he let other cars serve as the light source, which meant the characters could cease to be visible even as outlines for long stretches or movie and road.

He doesn’t go looking for beauty: the Washington Post interior is as flat as it ought to be. But then he seizes passing opportunities for visual grace, and creates surprise with unexpected splashes of light, colour.

The tamped-down performances and low-key lighting are enhanced by David Shire’s muted score, so that nobody seems to be trying to make this a thriller, but everybody seems to be succeeding.

Poor old Goldman had to try to please the original authors, who were also the main characters, a star who was also the producer, another star who was Dustin Hoffman, and Pakula, who couldn’t make up his mind. It must have been a huge relief to him to realise he could cut the story off half way through, before it got to the part everybody watched unravel in the news. His script unfolds in a rash of names, names leading to more names, with ellipses used so boldly we fear we may not keep up. Maybe THAT’S the source of tension: our fear that we’re not equal to grasping Watergate. Thankfully, we have Deep Throat to keep us straight: “Forget the myths the media’s created about the White House. The truth is, these are not very bright guys, and things got out of hand.”

This felt like a good film to be watching right now.

THE POST stars Forrest Gump, Florence Foster Jenkins, Bunny Yeager, Jimmy McGill, Gerald Burlingame and Unikitty.

ATPM stars Jeremiah Johnson, Ratso Rizzo, Max Corkle, Det. Milton Arbogast, Henry Northrup, Cable Hogue, Georgia O’Keeffe and Tector Crites, or do I mean Hoover Shoates?

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5 Responses to “True to Type”

  1. Friedkin cares that Latino Catholic schoolgirls are watching because “The Exorcist” is specifically designed to make them want to throw up and tremble in fear of ever having a sexual thought.

    “The Post” is really very good. It’s Spielberg making a straightforward movie about historical circumstance, rather than a plea to make his parents proud of him. Streep is exquisite as always, especially so in the moment when she decided to buck everyone and publish the papers.

    I believe I’ve previously mentioned my antipathy to William Goldman.

  2. There’s a movie about Georgia O’Keeffe??

  3. Of all the Goldman movies, I think ATPM is the one that most mutes his natural tendencies, hence it’s probably the William Goldman movie for people who don’t like William Goldman movies. Watching it next to The Post illuminates how un-obvious it all is.

    There’s a movie where Jane Alexander plays Georgia O’Keefe!
    https://www.imdb.com/title/tt3524532/reference

  4. The only William Goldman movie I like is “Soldier in the Rain”

  5. Oh, I haven’t seen that! Do we know how much of it is his? Maybe Blake Edwards or Maurice Richlin are more responsible. I don’t recall him saying much about it.

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