Word: redfords
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Dates: during 1970-1979
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...question is, after all the pain and bad feelings, was it worth it? The answer is yes, and one reason for that answer is Redford. If he was never completely satisfied with any of his coworkers' contributions, he turned out to be a shrewd editor of their work, choosing from their offerings that which fitted?and expanded?his original conception of the film. He realized, for example, that Goldman was not entirely wrong when he perceived at the outset that the film required a leavening note of newspaper humor and camaraderie. The journalistic world is one where power asserts itself...
Even the painstaking habits that annoyed Redford on the set must seem worthwhile now. The director has patiently sought out the inner dynamics of the film's many short scenes involving characters who have no lasting relationship with Woodward and Bernstein or anyone else in the film. His ability to find drama in the way a cup of coffee is handled, in the briefest play of emotions across the troubled face of a reluctant informer, is remarkable and invaluable in preventing the film from being no more than a historical record, a documentary in the dullest sense of the term...
...unwilling to take credit. He observes that he had "constant hassles with actors who were awed by the subject of the film and thought in an ideological frenzy they had to give it all they had. I've never seen so many experienced professionals overacting in my life." Redford is probably entitled to credit for submerging his actor's ego beneath his producer's needs and playing, as does Dustin Hoffman, as part of an ensemble...
...Hoffman is just as essential to the film as Redford; partly because he plays the more interesting character, his performance may well be more vividly remembered. At 38, Hoffman is the best character lead in the business; it seems impossible to imagine anyone else as Carl Bernstein. On the set Hoffman is a tough, uncompromising craftsman. Pakula's crablike approach to film making, which so unnerved Redford, was just fine with Hoffman, who thrives on improvisation. "I fight like hell with my directors," he says, "but this was a relatively pleasant experience...
Bradlee, of course, was right in asking why journalists should entrust their reputations to actors: Hoffman and Redford are in their own world, with their wives, children, horses, other movies, other causes. The Post and its people stay behind in the daily world of newspapering. What happens to a couple of reporters when they become celebrities...