Doubt review: putting faith to the test
Although it may have become available on Netflix and Prime Video some time ago, the banner of Doubt caught my eye when it flashed recently on my screen. Meryl Streep and Philip Seymour Hoffman together in a film? Isn’t Hoffman dead? Is it new or old? How did I ever miss it? These and many more thoughts raced through my mind at the possibility of having missed it, and now being able to watch a film starring two of my favourite actors.
Further research provided the clarity that it was a 2008 film and for the life of me, I couldn’t understand how I hadn’t seen it yet. With two powerhouse actors, the film was bound to be a masterpiece.
We have seen Streep collecting nominations and awards more than once, from The Deer Hunter (1978) to Into the Woods (2014). Who can forget her in Kramer vs Kramer, Julie and Julia, Sophie’s Choice, The Devil Wears Prada and so many more films? But the truth is I watched Doubt more for Hoffman, who died in February 2014, after an overdose of heroine. At the time, he was filming The Hunger Games: Mockingjay Part 2.
I admired his performance in The Master in 2012, where he played the Hubbard-esque cult leader, the arrogant Freddie Miles in Anthony Minghella’s The Talented Mr Ripley (1999) and the creepy fellow addicted to making abusive phone calls in Todd Solondz’s Happiness in 1998. He was again at his best in Charlie Kaufman’s Synecdoche, New York (2008), as the gloomy playwright. In The Savages in 2007, he played the grumpy brother opposite Laura Linney, where the siblings come together in middle age to deal with their elderly father.
I truly fell in love with him, however, in Magnolia (1999), my number one GOAT film. As part of an ensemble cast, Hoffman played Phil Parma, a male nurse who is supposed to be uncomplicated, caring, and good man who has a calm vibe as opposed to the emotional turmoil that drove the rest of the characters of the film.
Nearly all of his scenes were intercut with Cruise’s — the Earl Partridges’ two sons — one legitimate and abandoned, one adoptive and appreciated. Hoffman’s talent shone against Cruise playing the misogynist cum dating guru Frank T.J. Mackey.
Hoffman’s role and reaction was a precursor to what the audience was going to feel. When the Biblical rain of frogs [interestingly, also mentioned in the Quran 7:133, Surah Al A’raf as one of the plagues sent to the people of Pharaoh, along with a flood, locusts, lice, and blood] begins, he looks out of the window and wonders just like the audience wonders at that point in the film, “How are there frogs falling from the sky?” Parma was the only character not connected to the bigger picture of pain and regret that the other characters were linked to. He did simple and little things to fulfill his responsibility with a pure and unconditional loyalty towards his patient, the Earl. Last year, on social media, in the run-up to the 10th anniversary of his death, people shared their favourite images of him online, often in minor or unusual roles.
Yes, this is not a review of Magnolia and I have completely digressed, but not really. I couldn’t help discussing Hoffman and his fabulous talent that I got to admire once again in Doubt.
Moving on, the American playwright, screenwriter, and director, John Patrick Shanley adapted his Pulitzer Prize and Tony Award-winning play into an expert and entertaining film that is lucid, intellectual and full of substance.
Doubt premiered October 30, 2008, at the AFI Fest before being distributed by Miramax Films for the Christmas season. It grossed $50.9 million against a budget of $20 million. The four main actors were nominated for Oscars at the 81st Academy Awards. John Shanley was also nominated for Best Adapted Screenplay.
The film has an unforgettable vibe. Snow, the Catholic church, nuns, bicycles and sepia-type muted tones depicting 1964, St Nicholas, a Catholic grade school in the Bronx. US is in political turmoil with JFK been assassinated and Vietnam War becoming disastrous. In the wake of the Civil Rights Movement, the school has just accepted its first black student, Donald Miller.
Hoffman plays a vibrant, charismatic priest, Father Flynn, who is trying to upend the school's strict customs, which have long been fiercely guarded by Sister Aloysius Beauvier played by Meryl Streep. She is the iron-gloved Principal who believes in the old-school power of fear and discipline, slapping the wrists and heads of those she felt deserved it. She believes that the Bible and the Pope are infallible, and hates ballpoint pens because they represent modernity.
Sister Beauvier is shaken when Sister James (Amy Adams), innocently and unmaliciously shares with her, a suspicion that Father Flynn is paying too much personal attention to Donald. From here onwards Beauvier begins a campaign to find a truth that already believes and leaves no stone unturned to remove Flynn from the school for misconduct against Donald, based only on her own judgement and absolutely no proof or evidence.
The scene where Beauvier confronts Flynn, about her suspicion as strong as belief, and accuses him of being inappropriately involved with Donald is electric. Apparently, the actors reached the final cut after three takes. Wish I could have been a fly on the wall.
Whenever she sees misconduct anywhere, she immediately corrects it. On the other hand, Father Flynn hopes to progressively bring the church into a community-friendly modern age, where they are seen as family members. Beauvier doesn’t quite agree and when Flynn dares to suggest they sing secular songs, like “Frosty the Snowman,” in the upcoming Christmas pageant, she is openly disgusted, threatened perhaps. Another fine scene where the two actors flaunt their craft.
Of course, Doubt is about doubt, and also about the battle of tradition versus the wave of modernity. Beauvier’s religious idealism fights Flynn’s reform as he supports tradition yet he wants fresh air of modernism. As Flynn, Hoffman delivers wonderful sermons, smiles, jokes and connects with people, a vivid element of joy in all of his responsibilities in the church.
There are no creepy shenanigans suggesting inappropriate behaviour between Flynn and Donald or unnecessary details. Did Flynn or didn’t Flynn mess with Donald is left to your imagination, your reflection and your judgement and that’s perhaps the most beautiful part of the film. They don’t make films like that anymore; these days, the skin, the flesh and the innuendo, it is all in your face. What ever happened to subtlety and sublime essence of storytelling?
The audience is left to determine for themselves what they think Flynn could have done or not done. The film makes no admissions, and you can choose your hero in the film, whether it is Flynn or Beauvier — two opposing people, valid and justified in what they rooting for. The film does not have a villain, how extraordinary is that!
Streep and Hoffman are phenomenal actors, leading us through this exhilarating cat-and-mouse game. Both actors fully plunge into their roles, seamlessly transforming into their characters with immaculate attention to detail, from their mannerisms to the nuances in the tones of their voices. We've seen Streep and Hoffman deliver outstanding performances in the past, with their talent for disappearing into their roles, and in Doubt they do just that to make their audiences to completely connect with their passionate and idealistic conflict.
The title Doubt in all its simplicity, encapsulates the basic concept behind the story of the film. In the film’s first scene, Father Flynn discusses doubt in his sermon. He explains how certainty lacks a tolerant viewpoint, whereas uncertainties allow for open-minded consideration. Doubt pervaded the church and the US in 1964. After JFK’s assassination and the beginnings of Vietnam, doubt had undermined American certainty in general. What could you be sure of? What were the circumstances? The motives? In a later scene, he says he would like to discuss intolerance. But Sister Beauvier doesn’t like the concept of uncertainty because her world is rigid, inflexible, self-righteous and not looking for change.
Doubt is a masterpiece, a film that questions certainty. It asks audiences to think, without the film being preachy or too intellectual with mouthfuls of words thrown at each other by the characters. Throughout its one hour-45 minutes running time, the film remains a brilliant but simple story that connects, grips and entertains.
Both Streep and Hoffman are electric and some may find the end abrupt and snappy, their performances make up for it. The end also leaves you wondering about the truth, what had happened and what not. The conflict between Beauvier and Flynn is one between old and new, between status and change, between infallibility and uncertainty. You can decide for yourself if you belong to Team Flynn or Team Beauvier. Was Flynn right or wrong? Was Beauvier right or wrong? Shanley leaves us doubting.