It is the fall of 1964 and Father Flynn, a vibrant and charismatic priest, is trying to loosen the strict customs that have become a staple within the St. Nicholas program. These rules, though at times harsh, are the cemented force that helps Sister Aloysius Beauvier, the school's iron-gloved Principal, maintain power and rule with the children who come to be educated. At the time, both politics and society are vastly changing as the school has just accepted its first black student, Donald Miller. However, when the innocent observer Sister James shares her guilt-induced suspicion that Father Flynn is paying too much personal attention to Donald and his progress, Sister Aloysius loads her weapons, embarking on a personal mission to rid the school and community of the filth that is their priest. Now, in an all-out battle for supremacy, Sister Aloysius, without a shred of proof other than her absolute certainty, will take some impending actions; ones that could jeopardize her own standing within the school, as well as the community in which she has helped see grow.
Helmed from John Patrick Shanley's popular stage production and led by four spell bounding performances, Doubt exceeds my every expectation, generating an immeasurable amount of tension and suspense through the simple use of dialogue. and forcing me to shift positions in my seat on numerous occasions. And while the film is a little too controversial for some, those who enjoy strong acting and a dramatic, thought provoking film will find that there is nothing better than seeing star Meryl Streep outwit the likes of a Catholic priest.
At the forefront of the film are the two most prominent stars in Meryl Streep and Phillip Seymour Hoffman. Portraying Sister Aloysius and Father Flynn respectively, each star transforms themselves into the mold of their character, bringing them to life with aggression and determination. For Streep, it is her ability to generate tension and anxiety with a simple look of the eyes or twitch of the mouth. Her every movement is done with precision and purpose; thus creating a crafty character that is physically and mentally bound and determined to get what she wants.
Then there is Philip Seymour Hoffman, an actor who has made a name for himself by playing some fo the most dysfunctional characters to ever grace the big screen. Luckily for fans, Hoffman doesn't veer too much off course as Father Flynn is one of the most awkward characters of the year. From his inability to read the school's principal to his uneasiness around kids, Flynn is a man of immense interest, and Hoffman works hard to bring that strong characteristic out in him. In the end, his character is tranquil as his delivery is calm and placid, making you wonder if a man who is so quiet, could really be such an inner monster.
Additionally, audiences are greeted with the work of Amy Adams who gives the performance of her career as Sister James, a quiet teacher who loves rules and guidelines. And while many would expect the up and coming actress to get lost in the shuffle that is her highly recognizable co-stars, it is a blessing to see her hold her own, generating the talent needed to not only earn, but deserve a spot amongst the others in the film.
Yet all three performances would mean nothing if they didn't get to grace the screen together, which happens on the rare occasion, each time proving to be well worth the wait. The most iconic moment of the picture comes early on when Sister Aloysius and Sister James are confronting Father Flynn inside the Principal's office. The awkward interactions and hesitate continuation that is presented by each actor helps to generate one of the most nerving moments to ever be captured in film. The dialogue, the movements and the breaks between sentences is nerve-wracking as you can't help but feel as if you are within the room, begging for someone to either raise a window or open a door. The scene is perfect,and sets the stage for the David and Goliath match-ups that continues to pop up throughout the rest of the picture.
Another moment that is captured brilliantly by writer/director John Patrick Shanley is when Sister Aloysius calls in Mrs. Miller for a conference concerning the possibility of some misbehavior. And though Viola Davis only spends six minutes on the screen, her part is detrimental to the overall film and a purely iconic moment as she delivers what could be the most fascinating and mind-shattering prologues of the year. The language used, as well as the delivery, is one of passion, remorse and protection. And what makes the scene so memorable is the sternness that both Streep and Davis present on screen. For a few short moments we get to lay witness to two women, both in a struggle for power, verbally dukeing it out against one another in hopes of getting what they want. The battle is quick and seamless; however, its stance on the overall film and those watching will easily last days after you exit the theater.
And as you exit, you will not be able to help yourself from wondering what exactly happens after the credits role. Sure things are resolved and actions are taken, but what about all the other aspects of the film and its story? And what about the characters, where does life take them afterward? While many, if not all of these questions will never be answered, Doubt is still an interesting film that is intregiung, thought provoking and easily worthy of a watch.
