For those who practice religion, religious texts govern their morals. In this case, the characters in "Doubt" need to re-examine those sources. The central conflict of "Doubt" concerns what happens when gossip goes so far as to damage the reputation of an innocent ... or is he?
In the 1960s, things are well in one Catholic church until Father Flynn (Philip Seymour Hoffman) delivers a sermon about doubt, which leads stuffy, strict Sister Aloysius (Meryl Streep) to question its foundation. As she hunts for some - any - reason for misconduct, young, naive Sister James (Amy Adams) provides her with the basis she requires to make her assumptions. Sister James is concerned when a young, black student is called to Father Flynn's rectory alone and returns troubled, and with the special attention Sister Aloysius notices him receiving, she questions Flynn's motives and accuses him of sexual misconduct. The rest of the film then focuses on the question: Did he do it? Or didn't he?
The acting in "Doubt" is undeniably its greatest strength. Even when the plot feels like it has lost some thrust, the titanic talents of the four main actors yield astonishing, even explosive results. Streep shines, as usual, as Aloysius, and her dry, "holier-than-thou" approach to her character tells tales of both her already recognizable acting talent and the power of her character. Sister Aloysius acts on suspicion, perhaps without reason, but by way of "certainty." She operates against the words of the Bible by gossiping and proclaiming herself better than others, but she justifies her work as done for the "greater good." Viewers learn little about her past or why she thinks the way she does, but what is clear is her sizable wariness of Flynn.
Meanwhile, Amy Adams plays Sister James well, with a splendid character development that nods to her own talent. Though I have noticed Adams' tendency to be cast in "nice" roles, such as recent roles in Disney's "Enchanted" and her Oscar-nominated role in "Junebug," she acts with a reality that legitimizes her own character's moral and religious challenges. Meanwhile, Philip Seymour Hoffman's Flynn holds his own, and his impressive facial acting reveals the presence of his secrets without actually revealing what they are. Particularly fascinating in the film is the juxtaposition of the scenes featuring the presentation of his fingernails ("I like them a little long") and dinner with the other priests (featuring red meat). This combination says a great deal about his gender representation. This nudges viewers to consider him as a possible homosexual, and this supposition leads them to consider his possible indiscretions.
Last but not least, Viola Davis is the surprise of the film, leaving a mark so emotionally resonant that she is perhaps the film's greatest cannon. Consider: What kind of actress picks a fight with Streep's character and wins? Davis does it, tears and all, and her affect moves viewers as all she wants to do is protect her son.
Finally, the best thing about the film is that it does not remove the doubt that surrounds it. While some films would elect to reveal everything in the end, "Doubt" refuses to do so, keeping viewers guessing until the last seconds and even beyond. Did Father Flynn touch Donald? What is the real story? Clearly, "Doubt" will spark controversy with its concentration on the already touchy subject of priestly indiscretions in the Catholic Church, but since the play on which the film is based is titled "Doubt: A Parable," perhaps this would be the film's final words for viewers.
