La duda (Doubt)

As someone who lived this drama (unfortunately in all its aspects), I was transported back in time. The portrayal of Sister Aloysius in particular was stunningly accurate. It was a bit uncomfortable to watch only in that it rekindled those old memories, but the acting was outstanding.

And when I say dark, I'm not referring to the clothes in the movie. It's morally ambiguous and it might leave you with more questions than answers, but it's striking nevertheless. The powerhouse performances we get to see in this movie, are worthy Oscar contenders and leave free interpretations as to which character will be to your liking (or which character you despise the most).

While many movies do give you moral clarity, this one plays with many things, that are never fully uncovered ... or maybe they are and I'm just not willing to accept them? Actually it leaves room for some interpretations of things that went down (no pun intended). It's about guilt, it's about doubt and many other things, that makes us human. How you receive the movie might say a lot more about yourself than the movie itself. Which is a great thing. A movie that actually makes you think, even long after the credits finished ...

I'm not going to give a long or exhaustive review. A bazillion others have and the movie was released over a year ago--so my giving any sort of in-depth analysis is just needless repetition.

The movie's biggest strength is the acting. All three leading actors did a fine job and this was necessary to carry a film that has no special effects, explosions or love scenes. The vagueness of the film is also a strength. After all, the film gets you thinking and yet there is definitely no clear-cut answer as to what really occurred in the film. There is lots of room to foster discussions and debate. And, while I am a strongly opinionated person, I wouldn't have changed much of the film at all--except the very, very end when Meryl Streep's character, for the first and only time, shows some doubt and emotion. This just didn't seem true to her character. Still, this is a minor concern--and who am I to say, since I didn't win the Pulitzer Prize (last time I checked)! Some may hate the vagueness and want a very clear explanation as to what, exactly, the Father did--if anything. Some may hate that the film actually isn't vague enough (I slightly tend towards that). But what I love about all this is that so many different people see so many different things--mostly based on their own prior experiences and expectations. I could easily see someone seeing gay issues, pedophilia (and it's talked ABOUT but never even explicitly said) or a thousand other possibilities--or it could simply be a metaphor for McCarthyism. Who knows? And that makes the film so interesting.

There are no better actors working in American film today than Meryl Streep and Phillip Seymour Hoffman. Streep has been on top for some time now and Hoffman has an unmatched resume of fine performances over the past five years. Pairing off as adversaries in John Patrick Shanley's stage play brought to screen they parry and prod throughout with each landing hay makers along the way.

Change is in the wind in 1964 for both the world and the Catholic Church (Second Vatican Council) as the country moves from conservatism to liberal thought. Sister Aloysius (Streep)is the principal of an inner city Catholic school who rules with an iron fist. Lamenting the loss of tradition (she thinks Frosty the Snowman is a song about worshiping false idols) she crosses swords with the popular and laid back Father Flynn who takes a more liberal view seeing the need to keep up with the times. His progressive ways gnaw at Sister Aloysius and she is soon suspecting Father Flynn of inappropriate relationship with altar boys even though she is without concrete proof.

The scenes between Streep and Hoffman are riveting from start to finish. Both attempt at first to be civil with each other but eventually they end up at each others throat bullying and threatening. It is a titanic emotional struggle that makes for a gripping drama flawlessly acted. I'm no big fan of Streep, finding the adopted accents she employs in some of her films false and hollow, but as the self righteous Nunzilla her pugnacious style and inflection rates with her Sophie's Choice performance. Hoffman has his work cut out for him to keep up with the formidable legend but he holds his own with equal footing.

In supporting roles Amy Adams is very effective as the unintended go between Sister James. Seized with doubt she like the audience mirrors our own misgivings as conflicted objective observers. Viola Davis as a troubled boy's mother has one lengthy powerful and painful scene that begins to tie loose ends together but offers no easy solution.

Writer director John Patrick Shanley does an admirable job in keeping the plot nebulous with ambivalent scenes and peripheral characters that purposefully enhance the suspense. Scenes are tightly edited with sparse but effective dialog giving the film its steady pace. Other than some jarring oblique angle shots the camera compositions and set design provide a somber ambiance for the drama and an arena for the perfectly measured performances by two masters of the craft in this fight to the finish that remains absorbing from beginning to end.

Doubt is all Dialogue, Acting and Weather

There is no doubt. Nominated for Best Performance by an Actor in a Supporting Role, Best Performance by an Actress in a Leading Role, Best Performance by an Actress in a Supporting Role, Best Performance by an Actress in a Supporting Role and for Best Writing, Doubt is an acting tour de force.

Remember this name. John Patrick Shanley. He is the writer of only a dozen movies, but a few of them are quite good. He wrote Alive with Ethan Hawke, Joe Versus the Volcano with Tom Hanks and Meg Ryan and the sweetheart maker, Moonstruck with Nicholas Cage and Cher (Oscar for screen writing).

The 2005 Pulitzer Prize for Drama, this Broadway play is all dialog, acting, and weather. Cold weather. Cold northeastern winter weather. The kind that blows across your path, knocks down limbs in your way, obscures your vision and maybe makes you see things that aren't there. The kind of hard wind that blows away the fine line dividing right and righteous, wrong and wronged. The kind of cold Meryl Streep exposes as Viola Davies offers up her son to the bare bones of stark truths.

Just as Shanley did with the play, none of the other actors know if Father Flynn is guilty. Yet, the Spartan dialog gives these accomplished angels their wings. Doubt floats with the power of their performances. Nary is a word wasted. Neither a look nor a glance spent unwisely.

"Doubt," Philip Seymour Hoffman's character says in the opening siloque, "can be a bond as powerful and sustaining as certainty."

With performances like Julia & Julie, Meryl Streep will soon be sweeping aside all other acting award records. Those who love her need look no further than Doubt for proof of her incredible talents.

Hoffman, Amy Adams, Viola Davis and John Patrick Shanley follow in her footsteps. They track her out of the warmth of what you think you know is right and good and into a shivering Bronx, dusted with unfeeling snow. 8/16/2009

Love these lines!

Father Flynn (Phillip Seymour Hoffman)in Doubt:

Well, I'm not going to let her keep this parish in the dark ages! And I'm not going to let her destroy my spirit of compassion!

That I can look at your face and know your philosophy. It's kindness.

There are people who go after your humanity, Sister, that tell you the light in your heart is a weakness. Don't believe it. It's an old tactic of cruel people to kill kindness in the name of virtue. There's nothing wrong with love.

http://www.miramaxawards.com/uploads/Doubt_Script%5B1%5D.pdf