(Candace #35) — I’ve seen three of the five nominees for best picture in 2008 (“The Curious Case of Benjamin Button,” “The Reader” and “Slumdog Millionaire” — didn’t see “Milk” or”Frost/Nixon”).
None of them impacted me the way I think a best picture should, where dynamic acting and a riveting storyline suspend a viewer’s disbelief all the way through to the very final moment. (“Slumdog” came close; but alas, its sappy, you-are-my-destiny Hollywood ending squeezed rolls, not tears, from my cynical eyes.)
I did, however, recently see “Doubt” at Movies 10; and now I’m standing on my plush theater seat asking, “Why wasn’t this movie one of the year’s top picks?”
Let’s see. Dynamic acting? Main cast members Meryl Streep, Philip Seymour Hoffman and Amy Adams share three Academy Awards and 19 Academy nominations between them. That’s enough starpower to ignite a giant cineplex.
No offense to the bravely naked Kate Winslet, but I thought Streep’s performance as a hardened Bronx Catholic school principal blew hers right off the pages of those books she loved to read (er, have read to her). And Hoffman, who is rapidly becoming one of my favorite actors, can tug at your trust-strings and turn you cold with suspicion all in the space of his eyebrows and forehead. Throw in his blue emo-orbs, and soon you’re grappling with the truth of your own soul. He’s that good.
Adams, who brings some of her “Enchanted” naivete to her role as a young teacher at the school, offers the least remarkable of the three performances, which is like saying chocolate ice cream isn’t quite as good as fudge brownie ripple or decadent chocolate thunder. Heck, they’re all chocolate.
The scenes where Streep and Adams, and later just Streep, confront Hoffman with their suspicions that his priestly dealings with a young schoolboy are less than divinely appropriate are some of the most compelling, uncomfortable, tension-filled moments I’ve seen on screen.
The final stand-down between the principal and the priest is beautifully played, due in large part to a fantastic script by director John Patrick Shanley, who adapted the screenplay from his Pulitzer prize-winning play of the same name.
And therein lies the other essential ingredient to a consistenly great movie. A riveting storyline. Honest dialogue. A plot so adeptly developed that when the main character suddenly pitches a fit/hops a train/purposely drives a car into a tree/runs with a pack of wolves, it both surprises you and immediately feels completely right.
“Doubt” offers quite the plot challenge. Perhaps the biggest strike against it is that its subject matter has been splayed widely in disheartening news reports in recent years. No one is going to hand over money for “Doubt” expecting to munch popcorn with a heart as light as the cholesterol-free buttery spread.
But, as with all good movies, this one journeys far deeper than its external premise. Just when you think you’ve identified a “bad guy,” you’re forced to rethink your stance. Is Streep’s tight-lipped Sister Aloysius a heartless dictator or a woman willing to sacrifice her own integrity to save a child? Is Hoffman’s Father Flynn a gentle, progressive, loving man or a struggling pedophile?
True to its title, the plot gifts its viewers with ambiguity. And with that, the opportunity for reflection and self-examination. No gift-wrapped happy endings here. Just real questions.


















