CAPTION: Meryl Steep and Amy Adams have some bad habits to break in Doubt.
Perhaps We’re not Meant to Sleep so Well…, 21 December 2008
Author: David H. Schleicher from New Jersey, USA
It seemed rather fitting that I saw Doubt on the first day of winter, the sun making its shortest visit of the year, the advancing cold indicative of the looming incertitude of the characters in the film. This is the second film in a row after Frost/Nixon that has been adapted from an award-winning play. Unlike that film, Doubt is directed by the playwright, John Patrick Shanley. Wisely he employs the best in the bizz, cinematographer Roger Deakins, to translate his theatrics into film language. The crooked camera angles, the overt symbolism of storms approaching, windows blowing open, snow covering the ground, crows squawking, and lights blowing out, all smack the viewer in the face. There’s no denying what lies at the heart of Doubt.
Set in New York in 1964, the film tells the story of Sister Aloysius (Meryl Streep acting in her wheelhouse), the principal of Saint Nicholas’ School, who begins to suspect the new priest (Philip Seymour Hoffman, insidiously innocuous) is developing an inappropriate relationship with one of the altar boys, who also happens to be the school’s first African-American student. The naive Sister James (a perfectly cast Amy Adams) is at first pulled into Sister Aloysius’ plot to uncover the truth, but soon falls under the priest’s spell and is convinced of his innocence. But things aren’t so cut and dry, and soon both women are riddled with doubt after being so certain they were on the side of the just.
Some have claimed Streep’s performance verges on camp and that the film relies too much on Gothic overtones. However, anyone who was raised Catholic and attended Catholic school knew a nun just like her (mine was Sister Laboure), and her portrayal of a domineering principal who still defers to a higher power is nothing short of brilliant. Also, the Gothic nature of the film falls right in line with the traditions of Catholicism as it subtly hints at other crimes and sins in its sly treatment of secondary characters and plotlines that stir the audience’s imaginations not unlike Henry James worked readers into a tizzy with The Turn of the Screw over one hundred years earlier. Yes, there are moments where the film plays like a psychological thriller, and that’s part of its brilliance, for in no other way can we come to accept the sins but in the guise of horror.
Like Notes on a Scandal the film uses a salacious topic as a vehicle for an acting showcase. The fireworks amongst the three leads are worth the price of admission alone. In its treatment of the Catholic child abuse scandal, the film accurately portrays how insular the Church was (and still is) from the rest of the world and how easy it was for the accusations to be never voiced properly, or if they were, swept under the rug. In its closing scene of Streep and Adams finding solace in each other’s doubts on a bench in the dead of winter, Shanley seems to beg the audience for a little bit of sympathy on behalf of the Church. However, it left me thinking of an earlier scene where Hoffman’s priest asked Streep’s nun, “Where is your compassion?” To which Streep replied, “Nowhere you can get at it.” Perhaps any sympathy should be showered on the victims…for I feel nothing for the Church. Doubt will leave you chilled, and like the Sisters, perhaps we’re not meant to sleep so well as long as the crimes continue.
Originally Published on the Internet Movie Database: