A Movie Review

DOUBT

I. Introduction

Doubt is a bundle of questions, chiseled to a point and encased in the trappings of a Catholic church era now nearly forgotten. John Patrick Shanley's drama Doubt premiered at the Manhattan Theatre Club on November 23, 2004, before moving to Broadway, at the Walter Kerr Theatre, in March of the following year. It instantly became the most celebrated play of the season, taking the 2005 Pulitzer Prize for Drama; best new play awards from the New York Drama Critics' Circle, the Lucille Lortel Foundation, the Drama League, the Outer Critics Circle, and the Drama Desk; the Obie; and four Tony Awards (best play, best actress in a play, best featured actress in a play, and best director). The play was published by Theatre Communications Group in 2005.

When the principal (Meryl Streep) of a Bronx Catholic High School accuses a popular priest (Philip Seymour Hoffman) of pedophilia, a young nun caught in between the feuding pair becomes hopelessly swept up in the ensuing controversy. 1964, St. Nicholas, the Bronx: The winds of change are sweeping through this tight-knit religious community, and charismatic priest Father Flynn (Philip Seymour Hoffman) is doing his best to adapt by revisiting the school's notoriously strict disciplinary practices. Unfortunately Father Flynn's progressive ideas stand in stark contrast to the longstanding beliefs of Sister Aloysius Beauvier (Meryl Streep), the iron-willed principal, who believes that an oppressive environment of punishment and fear is the only way to keep the student body in line. Suddenly into this tempestuous environment appears young Donald Miller, St. Nicholas' first black student. When hopeful innocent Sister James (Amy Adams) reluctantly reveals to Sister Beauvier that Father Flynn and Donald have been spending an unusual amount of time together in the church rectory, the unrelentingly righteous headmistress begins a merciless crusade to reveal the beloved clergyman as a lecherous child molester and have him permanently expunged from the school. Yet despite her moral certainty that Father Flynn has committed such an unspeakable transgression, Sister Beauvier has not a shred of actual evidence to back up her audacious claim. Now, as Sister Beauvier and Father Flynn enter into an epic battle of wills, the shock waves set into motion by their explosive confrontation threaten to destroy one man's reputation and tear apart the entire surrounding community. John Patrick Shanley adapted his own play for the screen under the guidance of producer Scott Rudin (The Queen, Notes on a Scandal)

Rated PG 13 Genre: Drama Directed by: John Patrick Shanley Written by: John Patrick Shanley

Released by: MIRAMAX FILMS

II. Movie Poster

III. Casts and Characters

Meryl Streep as Sister Aloysius Beauvier Philip Seymour Hoffman as Father Brendan Flynn Amy Adams as Sister James Viola Davis as Mrs. Miller Alice Drummond as Sister Veronica Audrie J. Neenan as Sister Raymond

 Susan Blommaert as Mrs. Carson Carrie Preston as Christine Hurley John Costelloe as Warren Hurley Lloyd Clay Brown as Jimmy Hurley Joseph Foster as Donald Muller Bridget Megan Clark as Noreen Horan Michael Roukis as William London Haklar Dezso as Zither Player Frank Shanley as Kevin

IV. Movie Synopsis

At a Catholic church the film started with Father Flynn giving a sermon on the nature of doubt, noting that, like faith, it can be a unifying force. The next evening, Sister Aloysius, the strict and conservative principal of the attached school, discusses the sermon with her fellow nuns, she asks if anyone has observed unusual behavior that would inspire Father Flynn to preach about doubt, and instructs them to keep their eyes open should any such behavior occur in future.

Sister James, a young and inexperienced teacher, observes the closeness between Father Flynn and Donald Miller, the school's only black student and an altar boy. One day during class, Sister James receives a call asking for Donald Miller to meet Father Flynn in the rectory. When he returns, Donald is distraught and Sister James notices the smell of alcohol on his breath. Later, while her students are learning a dance in the gymnasium, she sees Father Flynn placing a white shirt in Donald's locker. Sister James reports her observations to Sister Aloysius.

Under the alleged reason of discussing the school's upcoming Christmas pageant, Sisters Aloysius and (to a lesser extent) James voices their suspicions that Father Flynn's relationship with Donald may be inappropriate. Several times Father Flynn asks them to leave the matter alone as a private issue between the boy and himself, but Sister Aloysius persists. Finally, he is pressured into admitting that Donald had been caught drinking altar wine, and he had promised Donald not to tell

anyone about the incident. Having now been forced to break that promise and reveal the truth, he will need to dismiss Donald as an altar boy, which he had been trying to avoid. Before leaving, Father Flynn tells Sister Aloysius he is unsatisfied with her handling of the situation. His next sermon regards gossip and how it is easily spread.

At first, Sister James is relieved and convinced of Father Flynn's innocence, but Sister Aloysius's belief that he has behaved inappropriately with Donald is unshakable. Sister James later asks Father Flynn about the shirt she saw him leaving in Donald's locker, having not revealed this detail to Sister Aloysius. They discuss his relationship with the boy. Father Flynn offers a reasonable explanation for the situation and Sister James's doubts are assuaged.

Sister Aloysius meets with Donald Miller's mother regarding her suspicions. Mrs. Miller shocks Sister Aloysius with her disinterest in the alleged misconduct on Father Flynn's part. As far as she is concerned Donald need only last to the end of the school year, as graduation from a prestigious church school would increase his chances of going to a decent high school. It is hinted that Donald is homosexual and revealed that his father is abusive, with the implication that one causes the other. Mrs. Miller begs that Sister Aloysius drop the matter, feeling that Father Flynn is a source of inspiration to Donald and a shield from the abuse he receives at home. She becomes angry when Sister Aloysius refuses to compromise and threatens to throw Donald out of the school. Mrs. Miller believes that Donald would be punished for a thing he was not the cause of.

Despite having no evidence and no support from anyone, Sister Aloysius again confronts Father Flynn and demands that he tell her the truth; otherwise, she will go to the Bishop. Father Flynn is adamant that there is no illicit relationship, but Sister Aloysius has learned that he has a history of problems, having moved between three different parishes in the last five years. She tells him that she has contacted a nun from one of his prior churches (she refuses to say whom), who supported her suspicions. Father Flynn is furious that she has contacted a nun rather than the church's pastor, which is proper church protocol. Sister Aloysius tells him he doesn't deserve to wear the collar, and asks for his resignation. Unable to stand up to her determination to ruin his reputation, he gives in to her demands.

Following his final sermon, Father Flynn steps down from the pulpit and shakes hands with the members of the congregation. Sometime later, Sisters Aloysius and James are sitting together in the church garden. Sister Aloysius tells Sister James that although Father Flynn resigned, the bishop has appointed him to pastor at a larger church and its parochial school, in essence

promoting him to a more prestigious position. She then admits she lied about speaking to a nun at Father Flynn's former church, and thus drove him out with no more than her suspicions; her justification is that if Father Flynn truly were innocent, he would not have given in. Repeating a line from earlier in the film, Sister Aloysius says that "in the pursuit of wrongdoing, one steps away from God."

Sister Aloysius concludes that one also pays a price in pursuing wrong-doing. She breaks down in tears and says to Sister James: "I have doubts...I have such doubts."

V. Acting Performance

Doubt is an actors vehicle, a film of great performances, but without any real drive to its narrative. Where Philip Seymour Hoffman, Meryl Streep, and Amy Adams put in exceptional performances, they seem to be almost free styling through a listless and contrived story-line.

The subtle complexity of the characters is beyond beautiful - each is flawed and perfect and maybe a monster. The way the cast manages this complexity shows how much talent, skill and true artistry there is in great acting. Both Hoffman and Streep are at the top of their games. Hoffman at turns heartbreaking and creepy and Streep vacillating effortlessly from cold, heartless and scheming to frightened, insecure and protective to the tiniest bit vulnerable and caring. The interplay between the two actors makes for the most riveting scenes in the film. It's like an intricate dance between two expert fencers, each standing to lose everything to the other. They are absolutely brilliant. Amy Adams also plays a pivotal if smaller and less developed role as a nave and idealistic nun who teaches at the school. She is the fulcrum of the lever that is the other two characters. They both want to see themselves as she sees them, they both want her support. It's as if by receiving her innocent endorsement they can each feel that they have been vindicated on some personal level. She is vacuous, but that is intentional. My fear is that Adams will end up pigeonholed in this type of role (which she has played before in Junebug and Enchanted) and not be allowed to display the talent I suspect is under the surface. Kudos also to Viola Davis for a stunning performance in the very small role of the mother of the young boy in question.

The set design manages to convey both the proper period as well as a timelessness that keeps the messages fresh and allows us to contemplate the drama within a more modern framework as well

as that in which it is presented. It's clearly not current, but the period details never overwhelm the basic human struggles. Sister Aloysius Beauvier played by Meryl Streep, the principal of St. Nicholas Scholl. She is a nun of the order of the Sisters of Charity. In her fifties or sixties, she is watchful, reserved, and unsentimental. Shes a no-nonsense, hardened administrator, determined to maintain order and tradition. She wears the black bonnet and floor length black habit of the Sisters. Father Flynn played by Philip Seymour Hoffman, priest at St. Nicholas Church. His background is working class. In his thirties or forties, he is well-liked and particularly popular with the boys that he coaches in basketball. Hes rather modern in his religious views. Sister James played by Amy Adams, an eighth grade teacher at St. Nicholas. In her twenties, she also is a member of the Sisters of Charity, and wears the bonnet & habit. She is reserved, but there is a bit of sunshine in her heart. She cares about her students and wants to think the best of everyone. Mrs. Muller played by Viola davis, Donald Mullers mother. She is an African-American woman, late thirties to forties, working class, weary and wary of the world. She has learned to accept what she has to accept and work with it. VI. Screenplay

The story behind John Patrick Shanley's return to filmmaking after nearly 18 years is an amazing one, especially the fact that it came out of him writing and staging an off-Broadway play that ultimately won many awards once it came to Broadway. Unlike the recent "Frost/Nixon," the entire cast of the play has been replaced for the film version, but Shanley has assembled a new foursome of talented actors to tell the same story, three whom have already proven their Oscarcaliber mettle and the third a terrific actress who's long been deserving of notice.

One might not think that a four-handed character drama based in a Catholic School might not hold much interest, but Shanley's film deals with this subject from another angle, from those suspecting foul play but not having enough proof, and it's an interesting character study that translates better to the screen than one might expect.

Set during the period following John F. Kennedy's assassination, we arrive at the St. Nicholas Church and School as Philip Seymour Hoffman's Father Flynn is giving a rousing sermon about "doubt," and this is where we first meet Meryl Streep's Sister Aloysius, the school principal. Behind her back, Aloysius is called "the dragon" because she's a strict disciplinarian, who doesn't

put up with anything from anybody, always keeping her eye on every student and faculty member. One teacher, a young nun named Sister James (Amy Adams) is trying hard to live up to Aloysius' lofty standards though she doesn't necessarily agree to them, but she quickly realizes her pleasant and friendly approach doesn't work at keeping her students in line. Aloysius is particularly concerned with a student and Father Flynn's altar boy Donald Miller, the only black student at the school, and Aloysius tells Sister James to keep an eye on him. When the boy is called by Father Flynn to the rectory, the young nun thinks she can earn points with Aloysius by sharing this information, though it gives Aloysius a chance to act on her suspicions of Flynn's improprieties and she stages an inquisition to find out the truth.

There's something really humorous about how Streep plays the character, particularly her nasal accent and how she spits out every word of Shanley's dialogue. It's another strong performance from the actress that's sadly overshadowed by having seen her in far too many bad movies this year. Still, it's another great character for her, cut from similar cloth as Imelda Staunton's Dolores Umbridge from the last "Harry Potter," but a lot scarier because she doesn't even attempt to be nice.

Philip Seymour Hoffman is excellent as Father Flynn, coming across as pompously pious on the altar, but like a generally caring man who listens to the boys and tries to help them, the exact opposite of the steely school principal. It's hard to imagine he could ever do something wrong, which may be why he's insulted and offended by Sister Aloysius' accusations, but as he says in a later sermon: once gossip is out there, it's hard to reign it back in and the younger nun doesn't know whether to believe Aloysius' accusations of kindly Father Flynn's story.

One would rightfully suspect that a film driven by dialogue and the interaction of three characters could get boring, but that's not the case, as the story's momentum comes from the verbal fireworks, especially in a number of intense scenes between Hoffman and Streep, where she grills him about his relationship with Donald. Adams is relatively tame compared to them, but if you liked her emotional performance in "Junebug," this is a similarly rounded performance. It's hard to deny that Streep, Hoffman and Adams bring out the best in each other, but in just one scene, Viola Davis grabs your attention and leaves you shaken as Donald's mother, who has her own concerns about the boy's relationship with Father Flynn. There's a lot more going on at Donald Miller's home and Mrs. Miller just wants him to get through the school year to be able to go to college. Her attitude about what might be going on between her son and Father Flynn is shocking, especially compared to Aloysius' own concerns.

Some of the scenes get a bit overblown with the amount of heavy drama, but it's all handled well, leading to a number of truly heart-breaking moments, especially the final epilogue scene where we finally see cracks start to form in Aloysius' steely exterior for the first time.

For the most part, Shanley has done a good job expanding a relatively simple one-act play into something set more in the real world. Small things like showing the contrast between the nun's conservative dinner compared to the priest's rowdier meals makes all the difference in setting the tone for the later confrontation. Overall, the movie looks great due to the talented eye of Roger Deakins who turns the story's simple setting into an expansive stage for the drama, and his visuals greatly amplify the quality of the filmmaking, ever shot looking like a postcard. Deakins continues to be the best in the business, as well as the most underrated cinematographer working today, but once again, he shows that he makes any film even better.

VII.

Production Design

Production began on December first, 2007. The film, which concentrates on a Bronx Catholic school, was filmed in various areas of the Bronx, including Parkchester, St. Anthony's Catholic School, and the College of Mount Saint Vincent, as well as Bedford-Stuyvesant, Brooklyn. The "garden" exterior scenes were shot at the historic Episcopal Church St. Luke in the Fields on Hudson Street in New York's Greenwich Village. The associated St. Luke's School was also heavily featured.

VIII. Technical Production

Video Roger Deakins' exceptionally keen visual eye made No Country for Old Men one of the most instantly arresting releases on Blu-ray, and his cinematography for Doubt is no less dazzling. Its cold palette reflects the foreboding tone of the film, and as director John Patrick Shanley notes in his audio commentary, the largely monochromatic colors and spare backdrops bring the performances that much closer to the foreground. Black levels are consistently robust, and the image is bolstered by a remarkable sense of depth and dimensionality. The level of clarity and detail on display is similarly outstanding, and Doubt stands strong as one of the more remarkable looking day-and-date releases of recent memory.

Audio Doubt's startlingly beautiful visuals are complemented by an equally exceptional 24-bit DTS-HD Master Audio soundtrack. Being adapted from a fairly claustrophobic stage play would lead one to expect a mix dominated by the front speakers, but Doubt's sound design is remarkably lush and organic. The surround channels are brimming with atmosphere, and torrential rain and the relentless rustle of leaves contribute to its looming, ominous tone. The rears also effectively flesh out the film's backdrop of the Bronx circa 1964. The sound design remains impressive in the interiors as well, from the organ enveloping the room to the reverb of Father Flynn's sermons thundering throughout the cavernous church. Doubt is predominately a dialogue-driven film and is accompanied by a suitably restrained score by Howard Shore, but just the same, the mix is consistently rich and full-bodied. Its line readings, whether whispered or bellowed, are consistently rendered cleanly and clearly. Doubt's approach as a film is to recognize that an image, a sound, or a performance can be both understated and powerful, and its sound design is much the same way. Subtle yet enveloping and wholly immersive, Doubt's audio accentuates the film's greatest strengths, making far more of an impact than a blander, more traditional mix likely would have.

Masterfully crafted and certain to spark thoughtful, impassioned discussions afterwards, Doubt easily ranks among the most exceptional films of 2008. This is a work that rewards repeat viewings, and that coupled with its strong technical presentation and a fair number of quality extras make for a remarkably compelling Technical Specs of Doubt Camera Arriflex 535B, Zeiss Master Prime Lenses Laboratory DeLuxe, Hollywood (CA), USA DuArt Film Laboratories Inc., New York, USA (dailies) EFILM Digital Laboratories, Hollywood (CA), USA (digital intermediate) Film length (metres) 2837 m (Sweden) Film negative format (mm/video inches) 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218)

Cinematographic process Digital Intermediate (4K) (master format) Super 35 (3-perf) (source format) Printed film format 35 mm (spherical) (Kodak Vision 2383) D-Cinema Aspect ratio 1.85 : 1 IX. Cinematography

When it comes to a cinematic permanent record, John Patrick Shanley probably doesnt instill tons of confidence on the first perusal of his track record. This is the same guy who wrote and directed Joe Versus the Volcano, one of the most confusing and critically loathed films of the 1990s the same man who also penned the screenplay for two Frank Marshall films, Alive and Congo. So, you see, his name is not normally attached to films that would ever be considered for awards potentialuntil now. The play version of Doubt took Broadway by storm in 2005 and won Shanley the Pulitzer Prize for Drama, bringing about this film adaptation. It might wind up being his greatest achievement, but even if he turns out to be a one-hit wonder, he has left up with a riveting piece of drama, translated wonderfully to screen by the man himself. Doubt is one of those films you have to see to understand because I cannot adequately describe to you what the film is about; the picture is more about a feeling than an idea. I cant explain how amazing the performances are you have to see them and appreciate them yourself. This motion picture was easily the greatest cinematic achievement of the year.

The action here takes place at St. Nicholas School in New York City, a parochial school headed by Sister Aloysius (Meryl Streep), a traditional hard-nosed nun who hates ball point pens and loves exercising her authority over everyone. Amy Adams co-stars as Sister James, an idealistic young nun who exercises compassion and love over hardness and cruelty. One day, Sister James becomes suspicious when Father Flynn (Philip Seymour Hoffman) calls the schools first African-American student to the rectory for a private talk. She explains what happened to Sister Aloysius, also noting that she smelled alcohol on the boys breath when he returned. Though nothing is expressly spoken, we can see by Sister Aloysius reaction that she suspects something improper. When she and Sister James confront Father Flynn, he denies everything and comes up with an excuse that would work on a normal person. But Sister Aloysius never relents and makes it her personal mission to see Father Flynn removed from the school. Sister James cant seem to make up her mind as to whether or not she believes Father Flynn could be capable of something like that. The film is basically a

power play between Streep and Hoffman as they do battle with the perceptions they have offered to the other.

What makes this film work so well is that nothing is black and white. You only once here Meryl Streep refers to Father Flynns relationship with the boy as inappropriate and she only go so far as to suggest he might have made advances. The worst molest is never brought up, nor is the word pedophile. In the Catholic Church, there is a protocol and there is a vernacular that exists inside them and to cross outside those lines can be very tricky indeed. But there is also some doubt as to whether Sister Aloysius really believes in Father Flynns corruption with such certainty. Is she simply taking out her dislike for the man in other areas? Is she seeking his ruin because of the way he takes his tea and the way he keeps his fingernails long? The character of Sister Aloysius is certainly not above these kinds of actions, as we find out. The ending of the film can be interpreted in a number of different ways, but I found the meaning rather straightforward. It becomes pretty obvious, by that point that one character is right and the other is wrong and that justice has been served. When Meryl Streep utters that last line to Sister James, it isnt so much a confession as a declaration. It shouldnt make us second guess or question anything else that has happened, because it is oddly unrelated to those matters and more in relation to the approach she had to take to arrive at the truth.

The film is also helped by the most incredible ensemble cast of the year. I cant imagine these words being delivered any better than they are here. Meryl Streep is insanely good here, her best performance in years, as Sister Aloysius. Her mannerisms a grunt here and a pause here and an eyebrow raise there are tailored for maximum potency and you can really appreciate her talents on full display throughout. The audience was literally cheering for her through most of the film. And it was very nice to see her go toe-to-toe with Philip Seymour Hoffman who is just fantastic as Father Flynn. The two of them create more than their share of fireworks, especially in that powerful final scene. Amy Adams is perfectly cast as the naive young nun who wants to see the good in people but gets a crash course in the dark side of human nature. And, Viola Davis will surely find a much deserved Academy Award nomination for her one-scene as the mother of the boy in question. Its definitely written to be a scene stealer and Davis is breathtaking in a role that people will remember for years to come its just that good. These four actors make up one of the best casts of the year and they all deliver Shanleys words with such perfection and such finesse. Awards season will likely shine on each of them.

All of that said, I have had very little time to devote to the technical merits of the film. The cinematography of Roger Deakins is pitch-perfect, using sharp angles to exploit the mood of the picture, simple and elegant shots that dont take attention away from the story. I just loved the

opening sequence and how plainly it was shot. The original score from Howard Shore is dark and building and adds so much throughout the picture, kind of like a storm building. Doubt just has so much going for it, its difficult to mention it all in one review. It was like watching a master class on acting and that was probably because the playwright was allowed to direct the film incarnation. John Patrick Shanley has surely redeemed himself in the eyes of most for Joe Versus the Volcano. He has taken his Pulitzer Prize winning play and turned it into what I hope will become an Oscar winning motion picture. Meryl Streep should easily win for Best Actress, Philip Seymour Hoffman a nomination for Best Supporting Actor, Amy Adams a possible nod for Best Supporting Actress and Viola Davis a definite win for Best Supporting Actress. Throw in an original score, cinematography, adapted screenplay, Best Director and Best Picture nomination and you easily have the best film of 2008, without a doubt.

X. Direction

Doubt is a 2008 film adaptation of John Patrick Shanley's Pulitzer Prize winning fictive stage play Doubt: A Parable. Written and directed by Shanley and produced by Scott Rudin, the film stars Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis. It premiered on October thirtieth, 2008 at the AFI Fest before being distributed by Miramax Films in limited release on December twelfth, 2008 and in a wide release on Christmas.

The film's four main actors were heavily praised for their acting, and all of them were nominated for Oscars at the 81st Academy Awards. Viola Davis received her first nomination and Amy Adams received her second nomination for Academy Award for Best Supporting Actress. Philip Seymour Hoffman received his second nomination of Best Supporting Actor, and third overall, while Meryl Streep received her twelfth nomination for Best Actress and her fifteenth overall.

XI. Movie Lesson/Impact

This film, frankly, is a marvel! A story that addresses the big, bad issue of pedophilia in the priesthood, yet never even uses the word once in the entire film. In fact, the word sex isn't even uttered. The issue is addressed head-on. Sister Aloysius thinks Father Flynn is taking advantage of Donald Miller, the first black kid in their Catholic school. Is she right to make that assumption? Is Sister James being foolish in accepting Father Flynn's word that he didn't do anything? What should Mrs. Miller do when she must choose between her son's education, which consequently

affects his entire future, and his current predicament? It is all very doubtful. And that's the way it should be. This movie makes you think, and think hard, because these issues do not have easy answers. Anyone who is old enough to appreciate such conundrums should watch this film, because by the time they're old enough to do so, they're also old enough to handle the material in this film. I also want to point out that this movie has a profound respect for Christians. Sure, the main characters all do bad things, but that is because they're human, not because the director/screenwriter is trying to take a jab at religion. The Christian approach is not the only approach in this film, but it is almost always present.

On the other hand one negative impact that the movie has given rise to is doubt and be in doubt. Beware, Doubt is not really a particularly Christian film. Religious? Yes. But, in the light of the bible, both Father Flynn and Sister Aloysius fall far short of real spiritual understanding. However, spiritual understanding is not really the purpose of the movie. Doubt is rather a well crafted presentation of humanistic agnosticism. Father Flynn is presented as the progressive, liberal and likable character. His opening sermon is very revealing as to the underlying philosophy of the film. He states that doubt is actually a condition that can be a bond of all humanity. Doubt is then a positive thing. Biblically, it is actually a negative and is the common bond of the sin of humanity. Doubting God's word was the point of the departure and fall of man into sin. This aspect of doubt is carefully left out of the movie. On the other hand, Sister Aloysius is portrayed as conservative, regressive and certain in her views. She does not really seek the truth of the situation but seems irrationally opposed to Father Flynn. In the end of the film she confesses grave doubts and is very unhappy. Certainty then becomes hypocrisy. My contention is that this movie is a powerful presentation of humanistic agnosticism couched in the trappings of religion. The moral issues raised are even set in a humanistic fashion and are secondary to the real message. The gospel of salvation, the true place of Christ as the real answer to sin, and true forgiveness are ignored.