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consumption of middlebrowDoubt, written and directed by John Patrick Shanley, who adapted it from his Pulitzer Prize- and Tony Award-winning play Doubt: A Parable, provides its accomplished cast a chance to fret and strut on the big screen for the consumption of middlebrow moviegoing America. And the four principals act the heck out of the piece. Their performances are so enjoyable, it feels ungenerous to note Doubt isn't quite as profound as it seems to think. While it worries such concepts as uncertainty, the assurance of things hoped for and the evidence of things not seen, it's basically a mystery that's too neatly wrapped up in the end to pass as subtle. I'm told that the ending of the play is more ambivalent; audiences are allowed more latitude to believe what they want about the characters. Ambiguity isn't welcome in Hollywood. Most moviegoers hate to leave the multiplex scratching their heads. So we can understand the compromises even if we regret them - we get the movies we deserve. Still, Doubt offers compensations. It's delicious to watch Meryl Streep as ferocious Sister Aloysius, the school principal of St. Nicholas who battles friendly priest Father Flynn (Philip Seymour Hoffman). Sister Aloysius is the embodiment of the monster nun, stern and devoid of charity, making stands against ballpoint pens ("Every easy choice today will have its consequence tomorrow. Mark my words") and secular Christmas songs, like the pagan "Frosty the Snowman." In the other corner, Father Flynn is a product of Second Vatican Council (the film is set in 1964), a kinder, gentler sort of priest who believes in an accessible church that takes an active interest in the day-to-day lives of their parishioners. He coaches basketball and advises the children on their puppy crushes. He radiates love. Flynn takes a special interest in Donald Miller (Joseph Foster), the school's first black student, who's having trouble adjusting to his new surroundings. Sister Aloysius learns from new teacher Sister James (Amy Adams) that Donald is acting strangely when he returns to class after a conference with Flynn. The principal, who disapproves of Flynn's religious philosophy and familiar ways with the students, immediately concludes that the priest has done something inappropriate with the boy. A choreographed argument about epistemological limits, Doubt swings back and forth as the actors chew and preen. It's marvelous fun, though it might have been more effective if the superfluous cast was cut. The play has four actors and the movie gives us pews full of churchgoers and classrooms and playgrounds full of kids. And the director gets to use the weather to underline his points. (Ooh, look - the wind has literally changed.) Still, while Doubt seems to lack the courage of its convictions in the end, it is very much a movie about deep ideas and, to a lesser but still thrilling extent, language. It's a kind of prose poem, with an emotional component that's not entirely spelled out by the facts of its words.
buy wow gold http://sosweety.vox.com/library/post/what-has-gone.html 12:03 - 2008-Dec-27
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