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''I have doubts. I have such doubts.''
Set in 1964, Doubt centers on a nun who confronts a priest after suspecting him of abusing a black student. He denies the charges, and much of the play's quick-fire dialogue tackles themes of religion, morality, and authority.
Meryl Streep: Sister Aloysius Beauvier
''Doubt can be a bond as powerful and sustaining as certainty. When you are lost, you are not alone.''
Doubt is the mystery of whether or not a priest (Philip Seymour Hoffman) is guilty of molesting an altar boy. The priest's primary accuser is Sister Aloysius, the tyrannical principal of the Catholic school that provides Doubt its location. Watching Hoffman and Streep spar is like watching two professional craftsman at their peak, and fans of exquisite acting should waste no time in seeing the battle of wills and the wrath of unknowing . The movie purposely never clarifies the ambiguity of the charges, is in fact Hoffman's priest truly guilty of something, or is Sister Aloysius simply on a mad witch hunt? Streep's character is the most complex and haunted. From one perspective, she's a nearly maniacal dryed up angry, husk of a woman, intent on ruining a man's life and career for no clear reason. However, if her accusations are legitimate, she's a sort of hero, demanding justice from a male-dominated world bent on being superior, bent on following the rules and keeping secrets, secret regardless of fact or indeed fiction. Streep's performance is the real masterpiece here, she is in fire in and years of experience are on show for us to marvel at in Doubt.
A strict taskmaster, her character relishes her role as the upholder of tradition, rejecting such modern devices as ballpoint pens and the singing of secular songs at Christmas like Frosty the Snowman which she equates with pagan magic.
According to a report commissioned by the U.S. Conference of Catholic Bishops, over four thousand clerics were accused of sexual abuse during the past fifty years. Although approximately thirty percent of these accusations were not investigated because they were unsubstantiated, given the proclivity of the bishops to cover up these incidents, the figures are widely suspected to be underestimated. What may be lost in the discussion of statistics about sexual abuse in the Catholic Church, however, is an understanding of the humanity of the people involved or the complexities of the circumstances.
This matter is covered in Doubt, based on Shanley's personal experiences at Catholic School, the film explores not only the issue of possible sexual abuse but conservative versus progressive religious values and how far one can rely on suspicion in the absence of proof. Set in 1964, one year after the Kennedy assassination, Sister Aloysius Beauvier is the dragon lady of St. Nicholas school in the Bronx.
Father Flynn: Where is your compassion?
Sister Aloysius: Nowhere you can get at it.
Amy Adams receives the pivotal role of a young, innocent nun who first brings her suspicions about the priest to her superior, and then sees them become Frankenstein's monster. In many ways, Adams' character is us, the audience, placed in the position of having to come to a conclusion on our own when empirical evidence is lacking. Adams' role is the least showy, but she does much with it.
Also Viola Davis, who, in merely five minutes, decimates the audience with some shocking conclusions of her own as the altar boy's mother. The insulated, hushed world of the Catholic Church is blown wide open by this struggling mother, who's seen more of the world than any of the priests and nuns sheltered behind the church's walls, and who puts the film's running themes of racial and gender inequality into harsh perspective.
The central battle in Doubt in many forms comes down to each individual's view of the world and his or her ability to accept the ambiguity of day to day life. There's a lot about the world we will never know and much about our futures we'll never be able to shape or plan. So what's better -- anticipating the worst and therefore being prepared when it comes? or believing in the best and running the risk of being disappointed when it fails to arise? The story makes us wonder, and rather than give us answers needlessly, it let's our minds conclude our own solutions.
Father Brendan Flynn: I can fight you.
Sister Aloysius Beauvier: You will lose.
8/10
