This new title directed by Steven Spielberg has been nominated for ‘Best Picture’ at the Academy Awards and one of its stars, Meryl Streep, has a nomination for ‘An Actress in a Leading Role’. She is supported by Tom Hanks and both by the music of John Williams. So this promises to be big box office and is screening at nearly every venue in town.

The film revisits the leaking of secret papers to the Washington Post in 1971. Thus there followed a conflict between the Media, the White House and the Pentagon, a conflict of historic importance in recent US history. A couple of my students suggested after seeing the film that some knowledge of the events helps in the early stages of the film, so there is a detailed page on Wikipedia on ‘The Pentagon Papers’. As always in recounting history the film would seem to offer  a partial view and dramatisation of events: does it include the New York Times?

So the Hyde Park Picture House is providing an important service with a screening of the film this Sunday followed by a Q&A with Granville Williams. Granville is the editor of FreePress, the newsletter of the Campaign for Press and Broadcasting Freedom.

Just to whet your appetites here are the notes prepared by Granville on the film and some of the issues.

The Post in an honourable addition to Hollywood films (All The Presidents Men (1976), Good Night, and Good Luck (2005), Spotlight (2015)) which portray journalists and journalism in a positive way, as opposed to grubby hacks chasing squalid, sensational headlines .

When I see films like these I wonder why UK film directors haven’t tackled such subjects. Couldn’t the dogged work of Guardian journalist, Nick Davies, as he probed and finally exposed the industrial scale of phone-hacking at Murdoch’s News of the World, be a suitable subject?

The credits for The Post say it is ‘based on a true story’ and whilst I can quibble with the way the film modifies some of the facts about the way the Washington Post’s publisher, Katharine Graham, finally came to back publication of the Pentagon Papers, I think the film captures perfectly how enmeshed she was in the Washington elite and the political and commercial pressures on her to take an easier route, and not publish the papers.

I will talk more about this in the Q&A session following the 5.00pm showing of the film on Sunday 28 January at the Hyde Park Picture House. Here I just want to develop a couple of points about two aspects of the film.

One is the way that Spielberg focuses on the old hot metal printing press scenes and the workings of the Linotype machines assembling the lines of type for the stories. It’s very evocative.

In 1975 after Watergate there was a ferocious strike by printers which set her and the newspaper on a conservative course. Graham devoted dozens of pages in her autobiography Personal History to vilifying Post press operators who went on strike in 1975. She stressed the damage done to printing equipment as the walkout began and “the unforgivable acts of violence throughout the strike.”

John Hanrahan, a Newspaper Guild member at the Post, wouldn’t cross the picket lines and never went back. He pointed out,

“The Washington Post under Katharine Graham pioneered the union-busting ‘replacement worker’ strategy that Ronald Reagan subsequently used against the air-traffic controllers and that corporate America — in the Caterpillar, Bridgestone/Firestone and other strikes — used to throw thousands of workers out of their jobs in the 1980s and the ’90s.”

The other point is on the role of Ben Bagdikian in the film – he’s the journalist who gets access to Daniel Ellsberg and persuades him to hand over 4000 pages for the Post to use. He was national editor on the Post, a man who the editor, Ben Bradlee, in his autobiography, A Good Life, describes as ‘thorny’. Bagdikian had a big influence on me, and others interested in media reform. He wrote a key book The Media Monopoly (1983) which warned about the chilling effects of corporate ownership and mass advertising on US media. Fifty corporations owned most of the US media when he wrote the first edition. By the time he wrote The New Media Monopoly (2004) it had dwindled to five.