Daniel Ellsberg. Photo (cc) 2020 by Christopher Michel.
There are a couple of Boston angles to the Pentagon Papers, the government’s own secret history of the Vietnam War. The documents were leaked to the press in 1971 by Daniel Ellsberg, who died Friday at the age of 92.
Most people know that the papers were published first by The New York Times and then by The Washington Post. The story of the Post’s race to catch up with the Times is depicted in “The Post,” a 2017 film starring Tom Hanks. What is less well known is that The Boston Globe was the third paper to publish the documents. Former Globe editor Matt Storin wrote about the Globe’s role in a 2008 reminiscence (free link):
It was a significant milestone in the effort of the Globe’s editor, Tom Winship, to lift a formerly modest local paper to national prominence. Before that day in 1971, the Globe had won a single Pulitzer Prize. Since then, it has won 19 more. [And seven more since then.]
It was no accident that the Globe was one of the first three papers, either. “I definitely chose the Globe … because it had been great on the war,” Ellsberg told Storin. The tale Storin relates is pretty wild. Ellsberg, who had access to the documents as an analyst with the RAND Corp., had made a copy of them. The news of the documents’ existence was broken by Globe reporter Tom Oliphant after he interviewed Ellsberg, which in turn led Ellsberg to make still more copies and start disseminating them to the press before the FBI could come calling.
The whole story, including phone-booth document drops and the decision to hide the papers in the trunk of a car parked at the Globe, is well told by Storin.
The other Boston angle is that Beacon Press, a small independent book publisher that is part of the Unitarian Universalist Association, published the Pentagon Publishers after a number of other houses passed on the opportunity because of the legal risks involved. The Beacon Blog quotes Gayatni Patnaik, Beacon’s current director:
Daniel Ellsberg’s incredible fortitude stands as an example for all who believe in fighting for democracy and government accountability and who oppose war and the proliferation of nuclear weapons. We are incredibly proud to have taken the stand we did in releasing the Pentagon Papers. Today, over 50 years later, we are still guided by the principles that led to that brave decision.
Thanks to Adam Gaffin of Universal Hub for flagging that item. And by the way, Beacon is also the publisher of “What Works in Community News,” co-authored by Ellen Clegg and me, which is scheduled to be released in early 2024.
Movies about historical events are often meant to tell us more about the present than the past, especially in the hands of an overly earnest director like Steven Spielberg. His 2012 film “Lincoln,” for instance, depicted a president who didn’t let his high principles get in the way of some down-and-dirty dealmaking with recalcitrant members of Congress. You know, just like Obama should have been doing.
Spielberg’s latest, “The Post,” is more deft and subtle than “Lincoln.” Still, it serves as much as a commentary on current-day events as it does as a drama about the press and the Pentagon Papers. Then as now, The New York Times and The Washington Post were competing to expose high-level government wrongdoing. Then as now, their nemesis was a vindictive president who hated the press. The message, at least for the anti-Trump audience that is most likely to be enthralled by “The Post,” is that journalism will save us. Help is on the way.
The Pentagon Papers were the government’s secret history of the Vietnam War. The documents showed that President Lyndon Johnson and other administration officials were aware that the war was going badly even as they publicly professed optimism — and thus allowed American soldiers to be killed for what they knew was a lost cause. This was especially galling to Richard Nixon, who was president in 1971, when the documents were leaked, and who was prosecuting the war with cruel gusto. The Times got and published the papers first, and Times partisans are grousing that Spielberg should have made a movie about that instead. For instance, Roy Harris wrote for Poynter that “the overall story of the Pentagon Papers as journalism seems somehow twisted by the Post-centric focus of the movie.”
Critics are missing the point. The Times gets its full due in “The Post” for breaking the story. But Post executive editor Ben Bradlee’s fierce attempt to play catch-up, and publisher Katharine Graham’s courageous decision to publish the documents against the advice of her lawyers and advisers, was a signal moment in American journalism, establishing the Post as the near-equal of the mighty Times.
The script for “The Post” reads like it was ripped from the pages of Graham’s autobiography, “Personal History,” and from David Halberstam’s magnum opus about The Washington Post and several other media institutions, “The Powers That Be.” The Post of 1971 was a financially marginal regional paper with more in common with The Boston Globe or The Philadelphia Inquirer than with the Times. Graham decided to raise much-needed cash by reorganizing the paper as a publicly traded company. The crisis over the Pentagon Papers blew up at exactly the same moment, putting the Post in real danger: if it published the documents and was found to have broken the law, its initial public offering could go down the tubes and the company could go out of business.
Graham made her decision after being called away from a social event, a sequence that is depicted faithfully in the movie. “Frightened and tense, I took a big gulp and said, ‘Go ahead, go ahead, go ahead. Let’s go. Let’s publish,’” Graham wrote in “Personal History.” And she quotes Bradlee as saying later:
That was a key moment in the life of this paper. It was just sort of the graduation of the Post into the highest ranks. One of our unspoken goals was to get the world to refer to the Post and The New York Times in the same breath, which they previously hadn’t done. After the Pentagon Papers, they did.
The U.S. Supreme Court ended up vindicating both the Times and the Post by ruling, 6-3, that the Nixon administration’s attempts to prevent publication were an unconstitutional abridgement of the First Amendment. As my WGBH News fellow contributor Harvey Silverglate wrote in The Boston Phoenix some years ago, that didn’t stop Nixon from attempting to prosecute the newspapers under the Espionage Act, a relic of World War I that is still with us. But Nixon’s efforts went nowhere.
“The Post” is not an eat-your-broccoli movie. It’s highly entertaining. Tom Hanks is terrific as Bradlee, and Meryl Streep turns in an accurate Graham, though it sometimes feels more like an elaborate impersonation than a fully realized role.
Streep’s Graham is the center of a subplot that, again, has as much to do with 2018 as it does with 1971. Although Graham had been leading the Post since 1963, when her husband, Phil Graham, shot himself in an apparent suicide, in “The Post” we see her grow and, finally, embrace her leadership role in a way that she hadn’t before. It’s a tale of female empowerment that is especially relevant right now. As my Northeastern colleague Meg Heckman wrote for USA Today:
In a refreshing departure from the shallow, oversexualized way Hollywood typically depicts women in journalism, Meryl Streep portrays Graham as a serious newspaperwoman navigating complex social and political challenges. Her role should be a blueprint for a new kind of popular culture, one that helps repair a climate where, as the #MeToo movement has revealed, media companies routinely get away with allowing sexual harassment and assault to fester.
One of my favorite characters in “The Post” is Nixon himself, whom we see back-to through a White House window, talking on the phone and threatening his enemies in the press. (We hear actual tapes of the Trickster.) And that brings me back to what “The Post” is really about.
In Donald Trump we have a president who hates the media and threatens his enemies like none since Nixon. Like Nixon, Trump is being investigated on multiple fronts — by House and Senate committees, by a special counsel, and by The New York Times and The Washington Post. Spielberg, in effect, is offering us a soothing message: Our institutions work. Look at what happened the last time.
But the past is not always prologue. The world of the 1970s was one without Fox, without alternative facts, and without a president who denounced press coverage he didn’t like as “fake news.” This time around, not only is it unclear whether the truth will be revealed — it’s even more unclear whether it will even matter.
