Doute

Watch this movie once, with the idea that Fr. Flynn is guilty. Then watch it again, with the idea that he is innocent. Or do it the other way around. Shanley's dialogue is so perfectly, brilliantly ambiguous that this is really two movies in one. Both are powerful, and both possibilities are horrible to contemplate, for very different reasons.

Having seen both the play (during its original run with Cherry Jones and Brian F. O'Byrne) and the film, the play obviously has the edge because it's more intimate, consisting only of four characters. The film expands its milieu (as film versions of plays typically do) but I think having the schoolchildren, other nuns, and school staff present in the film diminishes it just a bit. The play, of course, is about "knowing" things that we don't actually know, and the movie shows us some of what the play leaves to the imagination. Although the ultimate question remains ambiguous, the viewer may be distracted by looking for clues in the other characters, especially the kids.

What gives this piece its power, though, on both stage and screen, is its stubborn refusal to answer that ultimate question, or to provide any solid evidence of either conclusion, leaving it entirely up to the viewer to judge these characters.

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.

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.

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

'Doubt' has turned out to be quite a fascinating puzzle. The story is pretty much told through dialogue rather than portrayal of events. Shanley's overwhelming screenplay is so effective and the element of mystery is carried out so strongly that even the viewer is left doubting the actions of the priest and the motives of the head nun (were her accusations legitimate or was it all an intent to ruin the priest). His incredible direction takes us through the psyche of the four principle characters.

Needless to say, the outstanding performances are just the necessary requirements that Shanley has successfully met. After all, who could ask for a better cast than Meryl Streep, Philip Seymour Hoffman, Amy Adams and Viola Davis? All these actors display some of the best acting of their career. It is both the dialogue delivery and the non-verbal gestures that strengthens the doubts in the viewers mind and makes the characters nonetheless more convincing.

The slightly washed-out colours give the look of the 60s but also adds to the mysterious atmosphere. 'Doubt' is a very thought-provoking film. It has one questioning. Should the nun have reacted or should she have waited for evidence? But what if it was already too late for evidence? What has doubt done to them? It has them questioning themselves constantly. It has stolen their sleep. We accept that it is human to doubt but what does doubt do to us? What kind of power does it hold above us? How do we react on it? When should we react on it? The director beautifully manages to convey and provoke this without appearing pretentious or preachy.