Doubt

No doubt about “Doubt.”

A remarkable film – actor-driven … great story … a parable about doubt – the doubt we have about others, and the doubt of our doubt.

Starring Phillip Seymour Hoffman (as Fr. Brendan Flynn) and Meryl Streep (as Sister Aloysius Beauvier), the film adaptation of the drama (click HERE for a March, 2005 review of the Broadway play) by John Patrick Shanley is filmed during a dreary Bronx winter – as is the story, so the setting: cold, damp, without much light … and a few blown light bulbs along the way.

Hoffman is his usual best – he always surprises me with how effectively his lines are delivered – always the emotion, tuned so finely to convey the power and despair of the moment.

Streep is equally good, but not as consistent. They were times I knew she was acting, and that was getting in the way of her character. At the risk of being a bit too critical, I’ve always felt this was her burden in an otherwise brilliant career (her work in “Out of Africa” remains her high water mark for me; and who could beat her in "Mama Mia").

At the risk of giving the story away, Sr. Aloysius has her doubts about Fr. Flynn. Has he or has he not. As the story unfolds, we see her determination grow stronger, convincing herself, and others, of the Fr.’s guilt, slowly building a case against him in her own mind, involving others in her effort to snare the priest and compel him to confession.

We learn along the way that she herself has suffered serious loss. A WW2 widow who then, for whatever reason, became a nun, fierce in her determination to run the school and destroy this bad priest.

Set at St. Nicholas church and school, 1964, it’s a story about changing times and the clash of cultures. The priest represents change; Sr. is tradition, and never the two shall meet.

Sr. James (brilliantly played by Amy Adams), a sweet and innocent nun caught right in the middle –  wavers constantly between her trust of the priest and her grudging admiration for Sr., trying to be as tough as Sr., at one point in a difficult classroom, but failing miserably and disgusted with herself, she apologizes to the student.

The film ends dramatically, leaving one with all the questions, and none of the answers, as a good parable often does.

When seeing it, don’t be sidetracked with the wrong questions – one of the first lessons learned when reading and interpreting parables. This is NOT a film about religion, although religion is the context. It's not about gender issues, although they flavor the story. It's not about race, though race has a major role to play. It's about the darker side of the soul, obsession, and the power we have to assassinate someone's character.

The film reminded me of a David Mamet play, "Oleanna," wherein a student accuses a professor of impropriety and destroys his chances for tenure. At the end of the play, as here with "Doubt," we're left wondering just what it was the priest did, if anything, and if something was done earlier in his career, was it related to Sr.'s suspicion, or something not even connected.

Be focused on the central issue, not sidebar questions that cannot be answered, or, if answered, will only lead to further misleading questions.

This is a fine film, but not one for holiday jollies. If you want to think, try “Doubt.”

Synecdoche, New York

Phillip Seymour Hoffman - surely one of the greatest actors ever!

In this wonderfully convoluted story (written by Charlie Kaufman) , a portrait of a tragically convoluted man, Hoffman commands every scene with a breath-taking range of emotion, without every stealing a scene. Every film he does is a tour de force - he is the character, and the character is him. For me, an amazing skill, a gift, to bring such a diverse amalgam of portraits to the screen.

Along with Hoffman, an incredible cast of women: Catherine Keener, Samantha Morton, Michelle Williams, Hope Davis, Dianne Wiest, to name only a few.

In every respect, stellar performances in a story that moves fluidly between "reality" (whatever that is) and imagination - in Caden Cotard's mind, nothing is clear ... a ceaseless dream to do something great, but never doing it. Life is constant rehearsal, growing ever-larger, including more and more players, scenes, but the play never happens.

With a fine makeup scheme (Judy Chin), we see Caden and everyone else age and die.

Life and love slip away ... without purpose, without accomplishment - a lot of hopes and dreams, but in the end, nothing! Always too late.

But it is just fate that drives him?

Could he, might he, make other choices?

Synecdoche refers to a figure of speech in which a part refers to the whole, as in "the law" referring to a police officer, or "all hands on deck" referring to sailors.

Synecdoche, a play on the New York town of Schenectady, reminds us that Caden is everyone ... his quest, his confusion, his sorrow, his fear - the common stuff of our common humanity.

There's a clergy preaching at a funeral, who dares to tell the truth about life ... not some hokey religious stuff, but the hard reality - is there anything to it? Or is all just a big rehearsal for a play that never happens?

I'm particularly sensitive to the religious dimension - I know how easily the church "fakes it" for the world, forcing millions of people to "fake it" as well. It's as if the church has taken some simple truths and put on too much makeup, over-dressed and can only talk in the most exaggerated forms. The pomp of the Middle Ages and the "more is better" energy of America has done great harm to the gospel - a simple of message of love, forgiveness and hope. Maybe Caden needs to know that life isn't a rehearsal for a play that never happens; it is the play, and every part is real, here and now. That life consists, not of big plays, but small moments, wherein we often fail to live up to our own expectations, but often succeed as well.

The film moves effortlessly between past and present - with careful editing, directing, keeping the story intact. I was pulled into Caden's sorrow, enjoyed his rare moments of pleasure, and laughed at his bittersweet clown-like failures.

A film worth seeing.

Charlie Wilson's War

Oscar all over this one!

Casting, incredible, down to the smallest part.

Script, brilliant, pulling off a small miracle attempted in many a film, but successful in only a few - plenty of comedic lines in a movie that isn't a comedy! Laughs a-plenty, but a film with a punch! A message profoundly relevant without being heavy-handed.

Hanks, Hoffman and Roberts - awesome ... three brilliant actors who add those little touches that spell the difference between acting and portraying. Lots of folks can act, and even act well, but only a few can portray! And in such a portrayal, the audience is pulled into the story being told - more than watching, but actually there!

In all respects, a flawless film. A great addition to a year of good films.

Hats off to Hollywood!