Doubt

This film opens with a view of a street scene from the sixties. We see the neighborhood and those who inhabit it, preparing for the daily parade to the center of the community, the Catholic Church. And that is as far as we are taken from church grounds. Without researching the production, I can be reasonably sure that it originated as a play. It is not so much what happens on these grounds that is the reason we are here, it is what might have occurred.

This is a story-based film, and one that I was looking forward to. Philip Seymour Hoffman is an outstanding actor (and one of my favorites. Meryl Streep isn’t but she is excellent in everything she chooses to be a part of. With story being the action, I didn’t feel enough kick. It was too subdued. What we received packed little punch and was nothing more than an episode of ‘Little House on the Prairie’. I say this because in the end it was always the moral of the story that was most important. And often times, that was left for the viewer to interpret. This is central to 'Doubt' as well.

I loved the feel of the film, as I was raised in the sixties. Everything looked right and it brought back memories of a time when buildings had character, automobiles were distinct and the people who lived around you were not strangers.
It is a period piece that succeeds exceedingly well on that level. And true to form, Meryl Streep is fantastic. I had thought that this took place in any one of the cities with a large Irish population But Ms. Streep has an unmistakable Boston accent (and perfect I might add).

The Catholic Church in America is a once powerful entity that for a time was as influential as the government itself. But it began to crumble; as did the government when the truth was revealed to those whose support made the institutions possible. Lying beneath the surface was an ugly network of pathetically powerful men. A cabal based on power, greed, lust and deception. Demons who were meant to dwell in the final chapter of the book they used to advance their cause. There is little doubt where they are headed.

Slumdog Millionaire

I love foreign films. I feel this way because storytelling comes first. If explosions, skin or violence is required to accurately tell their stories, so be it. But the story is everything in films made outside the USA. When I think of great ‘story’ based films, ‘The Usual Suspects’ (USA), ‘Run Lola Run’ (Germany), and ‘Roshomon’ (Japan) come to mind. There is only one element to these films that is similar. They all involve a recounting or revisiting of events that lead up to the finale. ‘Slumdog Millionaire’ belongs in this category as well.

This film has the courage to go almost two-hours. The ‘standard’ for movies these days is 90 minutes. That’s mainly because studios listen more to focus groups than directors. The same standard applied in the sixties with record releases. The cardinal rule: never go over three minutes in length. This ‘wisdom’ was obliterated when FM radio and ‘album oriented rock’ ushered in an era of unprecedented creativity. In 'Slumdog Millionaire', Writer, Simon Beaufoy, Editor, Chris Dickens, and Directors, Danny Boyle & Loveleen Tandan complimented each other in a magnificent display of ensemble work behind the scenes. The precious extra minutes were used unselfishly and gave the story room to breath, and ultimately triumph

Another aspect of risk (beautifully handled here) was in seaming together multiple time periods. Many potentially excellent films are ruined as the story gets lost in the time tunnels, and confusion ensues. In ‘Slumdog Millionaire’, we have three characters, interpreted by nine actors. Six of them being children. Each part was brilliantly acted, and the continuity was allowed to develop clearly and naturally. Again, Directors, Danny Boyle & Loveleen Tandan were the reason it worked. They say you get what you give, and they must have been quite generous with the young cast.

I would be negligent not to mention a marvelous supporting cast. Not to be outshone, the people and settings throughout were spectacular. Cinematographer, Anthony Dod Mantle, made the most of capturing an amazing country. The film was shot entirely in India. A few months before viewing ‘Slumdog Millionaire’ I was extremely fortunate to have seen the amazing documentary ‘Story of India’ on public television. I am certain that it enhanced this film for me.

‘Slumdog Millionaire’ is funny, adventurous, cruel, dramatic and clever. Boyle and wove all of these elements into pure delight. A.R. Rahman's score set the tone for lively, dramatic and humorous sequences. At the end of the film, I felt a sigh of relief; having already known everyone mentioned in this piece was recognized for their excellence. I don’t know why, but when I have experienced outstanding film making, I want everyone else to have the same chance as well. If this piece was truly headed straight to DVD, one wonders if it would have been seen at all.

Much speculation has occurred in Hollywood over the connection, particularly financial, with Bollywood. But here is yet another example of something originating from outside of Hollywood that is literally defines ‘world class’ film making. I hope the global boundaries that are falling ‘flat’ in the business world take root in movies as well. Here’s hoping that we can do away with the preface and just call them ‘films’.