Reel Rewind: Doubt

Nominations for the Academy Awards were announced this week and buzz is building for the best movies of 2008. My quest for the "Reel Rewind" series is to see as many relevant films as possible, and simply report to you my own point of view.

I will write a separate post about the nominations for this year's Academy Awards soon; for now, the first "Reel Rewind," Doubt.

Philip Seymour Hoffman plays a forward-thinking priest who opens the film by delivering a sermon about doubt - setting the stage for a story where every truth is questioned, and the only certainty is that we all have doubts in life - whether we choose to acknowledge them or not.

In my opinion, it is the interaction between the four main characters (including Hoffman as Father Flynn, Meryl Streep as the strict Sister Aloysius, Amy Adams as innocent Sister James, and Viola Davis as the concerned mother) that elevates this film as a stand-out of 2008. Fittingly, each of these actors were nominated for both Golden Globes and Academy Awards. Personally, I was most struck by the performances of Adams and Davis - two actresses that before this movie probably haven't been considered Oscar-worthy.

Doubt is a story of resistance to change and a search for the truth. Set in 1964, the story happens in the midst of political and social change in a New England neighborhood. Not only is Father Flynn hoping to create a more friendly, warm atmosphere at the school, but the school has also just admitted its first African-American student. With the school's strict history of rules and reputation of discipline threatened, Sister Aloysius (Streep) begins a crusade to protect her control of the school.

What beings as a whispered suspicion about the relationship between Father Flynn and one of the students quickly becomes a flame of accusations, which is then fanned by emotions, rumors and a deep division of the entire parish.

The film is supported by 5 or 6 exceptionally memorable scenes, all of which are worthy of an award. I almost felt as if I were watching scenes of a play, which makes sense as the film was based on the play of the same name.

The film was shot with such little color, it was almost black and white - a perfect way to showcase a contrast of truth and lies. Though some of the cinematography was almost distracting - lots of strange angles and tilted lenses - The overall use of light and color lent the perfect amount of mystery to the screen and the story.

I was a little squeamish before seeing this film that it would center too heavily on the scandalous relationship of a priest and an altar boy. What I found was a deep film with smart dialogue, incredible talent and a universally challenging message.