Linda Winsh-Bolard
In 1964 a new parish priest, Father Flynn (Phillip Seymour Hoffman), comes to a catholic school in run down Bronx neighborhood. Father Flynn is full of energy and modern ideas and almost immediately runs loggerheads with a long tenured local schoolmistress, a nun of the old order, Sister Aloysius (Meryl Streep).
It is a battle of opinions, wits, political skills and faith, in God and in oneself. The central point of their battle becomes the new black student Donald Miller.
Between Father Flynn and Sister Aloysius is wedged young, idealistic and still naïve teacher, Sister James (Amy Adams) who wants things to be good and easier at the same time, and still believes this is possible.
Nothing in this film is as simple or as clear, as you might expect. The priest might be open to new ideas but he also might be an abuser. The nun might be narrow minded but she might also have an excellent understanding of human nature. The supposed victim might not be a victim, although it is made clear that a position of the only black student in the school is not easy.
The name of the film also describes the conditions of all main, and some secondary, characters. However decisive the actors in this drama might appear, or even act, each and every one of them is raked by constant doubts. They doubt themselves and their faith, even God, the intentions of others, their influences and consequences. They are, simply said, very human, along with ambitions, self righteousness, anger and pride.
It is beautifully shot alternating nearly black and white winter scenes with splashes of rich color. The freezing cold of the snow laden landscape and the long, dark, badly heated corridors feel right next to you. It is a talking picture; pictures stand by themselves here. The monastic, strict, silent and deprived nun’s cloister under the steely rein of the Sister Aloysius contrasts with the much smaller, much richer, home full of indulgence and laughter of the priests. The priests, of course, rule the women. Nuns have no power and little voice in the church hierarchy being only women.
The role of Mrs. Miller, mother of Donald, is excellently portrayed by Viola Davis. Davis slowly, convincingly, with fear and shame presents an idea seen in film: even as she doubts it, it still might be possible that a homosexual child who suffered for very long time home and at school, might be better off now than ever before, regardless what standard is usually applicable. The world is not cloistered catholic monastery; Donald and his mother live in harsh reality that Viola Davis powerfully introduces to the story Even though the part is small, the Oscar nomination is deserved, because the acting certainly is not.
Meryl Streep as the Sister Aloysius Beauvier (there was a time when nuns took male saint’s names when they joined the Order), Abbess and schoolmistress, the woman who sees everything and allows nothing while understanding more than people can guess, is very good. Self contained, determined and skilled, no wonder she had been nominated for an Oscar. Third nomination went to equally good Phillip Seymour Hoffman. His Father is a priest who cares, sins, hopes and gives up because after all his weaknesses are stronger than his good intentions. But were his good intentions the cause of his fall? Was it Sister Aloysius' preying mind? Was there a cause? Intention?
Amy Adams tries her best, but I yearned for somebody of Emily Watson’s caliber in that role.
The ending is a contradiction of a kind. Who, but God, is to sit in judgment if you are a believing catholic who still subscribes to the pope’s infallibility? It gets too literal too often (a cat catching a mouse in a crucial moment?) a bit too long and the tension wavers around, but it is well worth of seeing and thinking about.
There was a time in the US, about 15 years ago, when the world went mad and people were accused of child abuse left and right. Some went to prison, many lost their livelihood. Later many were found innocent of all charges. It was a mass hysteria and witch hunt that persecuted the innocent. Amazingly, it did not touch catholic priests. Until it did, with cause, and we still continue to uncover much of what had happened years ago. Yet, many priests were instrumental in shaping better future for the children they taught and entirely blameless in their conduct. This film is as much about the evil of suspicions as about the evil of guilt.
Director John Patrick Shanley wrote the original play as well as the screenplay and directed both. The play was very successful; the translation is not without mistakes.
