Philip Seymour Hoffman certainly knows how to
pick them. So often we are left scratching our melons after watching Hoffman go
to work. His characters are neither goodies nor baddies. In other words, his
characters are real people. Don't hold your breath; no superman is going to
swoop in and save the day in Doubt. There are just fallible men and women who appear to
live by different creeds.
These creeds initially find their way to us
through the concept of "doubt". It is Father Flynn's (Hoffman) topic
of choice in the sermon he delivers at the beginning of the film. And even if
you know very little about the Catholic Church in the 20th century, you get the
sense that this topic is not often the central message of a sermon. This idea
is then confirmed by the stern Sister Aloyisus (Meryl Streep), who stalks the
church pews, correcting misbehaving children and Sunday slackers. The storm of
change is brewing, the sacred and the profane are being questioned. The only
question we have is, what motives are behind these desired changes? Sure, the Catholic
Church in America was hearing the cries of change in 1964, much like it had in
the 16th century, only an Augustinian monk wouldn't have to be raised this time.
John Patrick Shanley's Pulitzer Prize winning play has been adapted faithfully, perhaps because Shanley himself adapted and directed the film. Like any play, the script has a tendency to tell more than it shows, but this is a character driven film. The tension in the film builds and the performances are frighteningly believable. Hoffman and Streep, two of the grandest dramatic actors going around, do battle with conviction. And we are left to put the earth shattering pieces back together. Is the Sister right about Father Flynn? Has he had an inappropriate relationship with a boy from the church-run grade school? Or is Sister Aloysius out to get Flynn because he preaches change?
John Patrick Shanley's Pulitzer Prize winning play has been adapted faithfully, perhaps because Shanley himself adapted and directed the film. Like any play, the script has a tendency to tell more than it shows, but this is a character driven film. The tension in the film builds and the performances are frighteningly believable. Hoffman and Streep, two of the grandest dramatic actors going around, do battle with conviction. And we are left to put the earth shattering pieces back together. Is the Sister right about Father Flynn? Has he had an inappropriate relationship with a boy from the church-run grade school? Or is Sister Aloysius out to get Flynn because he preaches change?
What strikes me about Doubt is how Father
Flynn resembles the kind of ministers I am used to spending time with. I have
attended an evening service at a Church of England (yes, a Protestant church)
for five years or so. The ministers are not of an old-school clerical mindset.
They do not consider themselves to be a different breed to the laity. They
preach the message that we are all family, one under God, and that we should
show Christ-like compassion to one another. And this is Father Flynn's message,
isn't it? We need to be open to the larger community, compassionate in how we
act and loving. But when children are involved, is that safe? Let's be honest,
we live in a fallen world - the kind of world where these notions are preyed
upon. So, is Flynn doing the preying? Should we identify with Sister Aloysius?
There are far more questions than there are answers in Doubt and we should
appreciate that.
There's gloominess to this film which clouds
our minds. We never venture far from the secure walls of the church and the school.
And within those walls the weather appears to be sour. Wind threatens to invade,
while the sun appears to have been sent to the principal's office. You almost
have to ask yourself if this is a throwback to the black and white days of
cinema. There isn't much comfort for the innocent (Sister James (Amy Adams),
the school children and ball point pens!), as grace and mercy are not welcome
under the watch of Principal Aloysius. We could say that this is all
exaggerated for a period piece concentrating on the church in ‘64, but is it?
Without emphasising grace and forgiveness, what are we left with?
Streep is a tour-of-force... in doubt. You'll find yourself quivering at the redness around her eyes, and muttering that old line: "Big
8/10
No comments:
Post a Comment