“Doubt” is an intricate and engaging film that concerns itself not with guilt or innocence, rather the nature of preconception and power of suspicion.
Set in a Bronx Catholic school during the 60s, the story pits Philip Seymour Hoffman’s vibrant, forward thinking Father Flynn against Meryl Streep’s intransigent, stuck in the past Sister Aloysius, the school’s principal. Rigid and feared by the entire school, Aloysius doesn’t like the progressive Flynn from the beginning. She restricts ballpoint pens in her school and seems to enjoy being feared by the student population. When the innocent, naïve Sister James comes to Aloysius about Father Flynn’s private meeting with the school’s only black student, the vulnerable Donald Miller, she immediately suspects something foul. Compounding her suspicions is Sister James’ claim that Donald had alcohol on his breath upon returning to class. What follows is a compelling, unsettling cat and mouse game between Sister and Father, as she becomes overwhelmed by her mistrust despite minimal proof and he fights to uphold his reputation within the school and Church.
It goes without saying performances are the selling point here. Streep and Hoffman could read the phone book and make it interesting, so watching them work with complex, understated material is a joy. Their intricate performances both bring layered exposition while approaching boundaries of what it is to be a Catholic at the time and most importantly, the power of reservation. In support, Amy Adams is naïve and charming as Sister James, while Viola Davis packs an emotional punch as Donald’s mother, stealing an important scene from the veteran Streep. John Patrick Shanley, who wrote and directed the play, mostly stays out of the way and lets his actors do the heavy lifting. Roger Deakins continues his strong work of late, utilizing canted angles to create a sense of uneasiness and a struggle for power, while high angle shots within the school hint at a sense of religious ambiguity. Howard Shore’s score is restrained and eerie before reaching a pinnacle in the final sequence.
The taut, well-paced script deconstructs the two leads as their battle exacerbates before reaching a difficult close. Streep’s Aloysius is inflexible and at times brutal, but never do we get the sense of a traditional antagonist. Her motives are easily understood despite not being the most agreeable character. And Hoffman plays Flynn as progressive and relatable – Donald Miller’s only friend and a beacon of hope within a school overrun by cynicism. Yet the real-life, highly publicized sexual misconduct cases against Priests cast an uncertainty over the film’s most likable character. I suspect two people could see this film and leave with remarkably different opinions about whether Flynn is guilty, a tribute to a brilliant performance and expertly crafted script.
As for the requisite Academy talk – expect this film to be in the mix across the board. Streep is close to a lock, she’s an Academy darling and her performance here won’t go unnoticed come Oscar time. Philip Seymour Hoffman hasn’t had a misfire in years and should also attract a Supporting Actor selection. Amy Adams is charming, but I honestly think Viola Davis could grab a nomination based on her one scene… Wait until you see it. Adapted screenplay is likely, and the film remains topical enough to garner Best Pic nod. John Patrick Shanley’s directing is fine, but overshadowed by performances. And listening to him speak after the film, it sounds like that was his intention. Roger Deakins is on point but his work in “Revolutionary Road” will be what gets nominated.
Doubt is a bond as powerful as certainty, a pillar in which the story is built upon. From the moment Sister James sees Flynn with Donald and Aloysius fashions her suspicions, the film relentlessly plays on our own convictions and uncertainties. To this extent, every exchange, demeanor and mannerism of both Streep and Hoffman become potential insights towards a solution to the central question. It’s a simple film with complex implications, breaking down its characters and leaving us with only our insinuations and doubts.
