I haven’t read the whole thread, so please forgive me if I raise points that have already been discussed. This movie has just been shown in the U.K. via the BBC’s iPlayer. For British readers/ viewers, it can be seen here:
bbc.co.uk/iplayer/episode/b01bbv34/Doubt/
I’m surprised and shocked that some on CAF see this as an anti-Catholic movie. As a convert Catholic, this film seems to me to be full of love for Catholic culture as well as raising serious questions about our Church. Did anyone else pick up on the theme of open windows and storms? First of all, the classroom window in Sr James’ classroom is open and Sr Aloysius (Meryl Streep) is suspicious. Next, Sr James wakes up in the middle of the night because a storm is lashing through her window. There is also another scene between Fr Flynn (the allegedly abusive priest) and Sr Aloysius involving an open window, Does this image not make anyone think of Blessed John XXIII’s comment about Vatican II opening the windows of the Church to let in some air?
The film is set, I think, during 1964, the year in which the Third Period of the Council was held. This was the session in which the decree on the Church in the world, Lumen Gentium, was promulgated. Don’t worry, this post is not going to turn into an anti-Vatican II diatribe. Rather, the film made me question, what if the Church opened the windows just at the time when a toxic, damaging zeitgeist was in the air? The priest at the center of the allegations, Fr Flynn, is a model of progressive priest. He seeks a more informal relationship with the laity and is shown to enjoy the pleasures of the flesh (alcohol, roast meat, cigarettes and sugar) rather than being overly ascetic, like Sr Aloysius. She represents the pre- / anti-Vatican II church (at one point she encourages Sr James to hang a picture of Pius XII over her blackboard as a ‘rear-view mirror’). Fr Flynn represents one face of the post-Vatican II Church. Sr James represents us, caught in the middle between the two, facing one way and then the other.
To some extent, the film echoes the John Jay report on abuse in the U.S. Church. The fault was not in modernisers themselves but in the culture of secrecy and cover-up that pervaded the Church. Sr Aloysius cannot denounce the priest openly because she doesn’t have sufficient evidence. In the end, she is partly implicated in putting him in a position where he may be able to abuse more children with impunity. This leads her to have devastating doubts. She says that one has to move away from God in order to pursue wrongdoing. Then, as she clutches her crucifix, we see that the corpus is no longer visible. Her breakdown and tears are like Jesus calling out “my God, my God, why have you forsaken me”. As we hear the children singing Christmas carols in the background, we are left in no doubt as to the cost of following the Babe of Bethlehem. Christmas and Easter are linked palpably in our lives. This is a deeply Catholic film.