The brilliance of John Patrick Shanley’s Doubt is one of these such things. A complex tale of morality that keeps the viewer (as well as the characters in the film) guessing all throughout the film, and beyond that. There’s nothing flashy about Doubt, the film is a completely unpretentious piece that succeeds on the immense strength of its performances and the depth of the questions it poses. Doubt may not be the best film of the year, although it’s definitely in the conversation, but you’d be hard pressed to find a more morally and intellectually stimulative film.
Doubt is essentially about three characters and the uncertainty and reservation that encompasses all of them. The first character is Father Flynn (Phillip Seymour Hoffman), a well-liked and respected Priest of a Catholic church in the Bronx, circa 1964. He also lends his services to the local Catholic school, where the intimidating headmistress Sister Aloysius (Meryl Streep) is feared by all students. Conflict erupts when Sister Aloysius begins to suspect that Father Flynn is having an ‘improper relationship’ with a male student. Sister James (Amy Adams), an innocent and borderline angelic history teacher at the school, is caught between the two as she tries to come to a conclusion beyond any doubt.
The sheer multitude of the questions posed by Doubt is as intoxicating as it is suffocating. Why does Sister Aloysius care so strongly about the matter? Is she merely acting on the best interests of one of her students, or is this just a power trip? What lies in the Father’s past? Does the final revelation of the film reveal the motives of the Father? Does it do so beyond a doubt? Like all of these questions, the great question of the film, did Father Flynn have an improper relationship with the student, is never given a straight answer. Ambiguity rules Doubt, and I for one am grateful for it. Doubt refuses to cave into the status quo, instead it opts to challenge the viewer and make us do something that so few films succeed in doing – make us think.
The beauty of Doubt lies in its subtleties. Just when we think we have a question answered, something changes our mind. But it isn’t a ‘Tyler Durden isn’t real!’ or a ‘Bruce Willis is actually dead!’ type of moment, no it’s much less restrained than that. Something as simple as an embrace between the Father and the student that might be a little too tender to be platonic. Doubt is full of these moments than can be analysed to death. Does Father Flynn’s infatuation with flowers suggest something about his sexuality? Yes it suggests something, but that’s what Doubt is all about. Suggestion, not finality. It’s fantastic.
I noticed that Doubt received four Golden Globe nominations for acting, yet no Best Film or Director nomination. I don’t think that’s right, but the film is being marketed on the basis of its strong performances. Getting the most hype is Meryl Streep, an early Oscar favourite. Is there any doubt as to the fact that Meryl Streep is the best actress in the business? No actor is as consistently versatile, involved and most importantly believable, with each character she chooses. Meryl Streep becomes Sister Aloysius. She’s scary, intimidating, proper, witty, cold, isolated and ultimately – vulnerable. It’s a brilliant display of the broad range of emotions in Streep’s arsenal. It’s a magnificent performance.
If Streep is the best actress in the business, Phillip Seymour Hoffman may be her male opposite. Hoffman has gone from the ‘guy you see all the time without really knowing who he is’ to an Oscar winner and acclaimed actor. There’s no question in my mind that Hoffman is the best versatile actor going around, just as Streep is on the female side. Look at the quality of performances he delivers in such a wide range of roles – Boogie Nights, 25th Hour, Capote, Owning Mahowny – all brilliant, all different. Hell, even Mission Impossible III he was good in. Here in Doubt he succeeds in making Father Flynn a believable character. He portrays the Father as a likable funny guy, someone that will make a joke at his own expense (one scene where he tells the boys what to do if they can’t get a girl is hilarious). As the film progresses he begins to show a darker side, and makes us believe in the possibility of a wrong-doing.
Perhaps upstaging them both is young Amy Adams in a memorable role. Caught between the heavyweights, Adams’ sheer innocence shines through. At times it feels like a halo is hovering over her head. Sister James is not a straight up character though, being surrounded by the cold Sister Aloysius begins to rub off on her. Adams’ portrayal is deep, complex and believable. She deserves all the accolades she receives. Finally in a William-Hurt-A History of Violence type of cameo – short but powerful – Viola Davis is memorable as the male student’s mother. Her screen-time is limited but makes an impact. Unfortunately the time is so limited that any award nomination is probably without merit.
Doubt isn’t quite a perfect film. The film builds and builds to a final confrontation between Sister Aloysius and Father Flynn and the scene is honestly a little underwhelming. Don’t get me wrong, it’s a very good and well-acted scene, but with actors of the quality of Streep and Hoffman I was expecting something magnificent and had to settle for something merely good. That’s my only real qualm with the film, and on the basis of the brilliant performances and storyline that weaves and dodges through assuredness and uncertainty I think I can forgive it. Some films are easily digestible and forgotten about days later, while some require involvement and stay with you for weeks. There’s no doubt that this film falls into the latter.
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