Cine , Cartelera de Cine, Estrenos, Actores y Actrices

Actividad 1, examen final, julio 2018

Dirección: inglés-español
Condición: regulares y libres
Publicación: The Washington Post
Instrucciones: Lea y traduzca el siguiente fragmento de una reseña de The Washington Post. No traduzca la sección subrayada.
Cantidad de palabras: 245

In ‘The Post,’ Streep and Hanks lead a stirring homage to the pursuit of truth

By Ann Hornaday Movie critic
December 7, 2017

In 1971, Katharine Graham had been running The Washington Post Company for eight years, having assumed control when her husband, Philip, took his own life in 1963. Painfully shy and prone to chronic selfdoubt, she was an uneasy corporate leader and an unlikely feminist pioneer. Some were skeptical when, a few years earlier, she had hired
Newsweek’s Washington bureau chief, Ben Bradlee, to become executive editor of the paper.
Although the two enjoyed a warm working relationship, it would be thrown into a crucible in the summer of ’71 with the publication of the Pentagon Papers after the New York Times, which first broke the story, had been ordered to cease doing so by a court injunction. That bravado would send The Post into an epic legal and existential battle just as Graham was preparing to take her family’s media company public — a deal that could easily be scuttled by her potential imprisonment and a Supreme Court fight, not to mention the vindictive administration of president Richard M. Nixon.
43TAKVF7GAI6PBCEUDKPAS4J5MThose tense couple of weeks in June form the spine of “The Post,” a fleet, stirring, thoroughly entertaining movie in which Meryl Streep and Tom Hanks play Graham and Bradlee with just the right balance of modesty, gusto and expertly deployed star power. Directed by Steven Spielberg from a script by Liz Hannah and Josh Singer, “The Post” canters along with crisp pacing and straightforward, unfussy clarity, its two icons playingicons bolstered by a superb cast of supporting players. Unlike the Oscar-winning “Spotlight,” which Singer also co-wrote, “The Post” isn’t a subdued ode to cinematic restraint and shoe-leather reporting. Rather it’s a purposefully rousing homage to the ideals of journalistic independence, governmental accountability and gender equality that isn’t averse to underlining, italicizing and boldfacing why those principles are more important than ever.
[…] It’s up to individual viewers to decide the present-day relevance of a story in which a touchy, overweening president can be heard going after a newspaper he deems a personal enemy — “The Post” includes snippets from the actual Nixon tapes — or in which a working woman encounters endless, patronizing slights and condescension, only to come into her own with admirable, self-effacing resolve. But few will be immune to the romance that lies at the center of a movie that takes as much delight in pneumatic tubes, linotype machines and telexes trailing like bridal veils as it does in temperamental opposites finding common purpose in the institution to which they’re both truly, madly and deeply devoted.
“The Post” works on many levels, from polemic and thinly veiled cautionary tale to fun period piece and rip-roaring newspaper yarn. But at its most gratifying, it’s a love story, from the lede to the kicker.


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