Contradictions and contrasts abound throughout Doubt: good and evil, summer and winter, certainty and doubt. Largely due to the captivating performances of Meryl Streep and Philip Seymour Hoffman, the audience experiences similar opposite emotions. Who is in the right: Streep’s stern Sister Aloysius or Hoffman’s relaxed Father Flynn? As the seasons change, so does the apparent truth.
“What’s this? The wind is so … peripatetic this year,” comments Sister Aloysius early in the film. Later, as Father Flynn arrives in the parish with new ideas, the school principal fights back, criticizing the priest regarding matters ranging from his close relationship with students to his use of a ballpoint pen. Sister Aloysius claims she is certain that Father Flynn has been molesting children, despite the lack of concrete evidence.
The nun’s success in her crusade inspires deeper doubts: Aloysius was forced to lie to force Father Flynn out of the parish and despite his wrong doing (in her eyes), he was promoted in the church. Along with Sister James, Aloysius must confront doubts regarding her faith and purpose in life. It’s not that writer/director John Patrick Shanley encourages viewers to question their existence but his screenplay maintains an atmosphere where nobody is certain, even after the film is finished.
Direction is conservative, repeatedly battering audience members with traditional symbolism, like the weather representing post-Vatican II change in the church and a faulty overhead light signifying the seemingly all-knowing and all-seeing principal. Of course, a traditional film based on a play requires patient blocking and patient cinematography. The peaceful school setting in the middle of bustling New York City is very appropriate.
Doubt relies on a compelling screenplay and charismatic performances to stand out. Hoffman is shown in more widescreen shots, using body language and facial expressions to relate to others. Streep is filmed in tight shots, her body hidden by a traditional habit. She must rely on vocal inflections and her eyes to make a connection with the audience. As mentioned in many revues, she excels. If the rest of the filmed matched the performances of the three principal characters, Doubt would be the best film of 2008. ***