Amy Adams is in talks to star the young nun.dws1982 wrote:According to Playbill, Phillip Seymour Hoffman is playing the Brian O'Byrne role in Doubt.
I haven't read the play or seen a production, but it seems to me that the whole audience will know Hoffman's guilty from the first time he appears, and thus Doubt will become No Doubt.
Meryl's 15th Nomination
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Actually, her next nomination could very well be for any of these films that are releasing this very year...
Evening
Lions for Lambs
Rendition
Just take your pick, which one will it be? Or ones?
Evening
Lions for Lambs
Rendition
Just take your pick, which one will it be? Or ones?
With a Southern accent...
"Don't you dare lie to me!" and...
"You threaten my congeniality, you threaten me!"
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"You shouldn't be doing what you're doing. The truth is enough!"
"Are you and Perry?" ... "Please, Nelle."
"Don't you dare lie to me!" and...
"You threaten my congeniality, you threaten me!"
-------
"You shouldn't be doing what you're doing. The truth is enough!"
"Are you and Perry?" ... "Please, Nelle."
The Original BJ wrote:I'm so glad I wasn't the only one who found Doubt overrated. I certainly agree, Damien, it's totally anachronistic, in addition to being schematic when it should be emotional (this is actually a play about pedophilia where the child in question NEVER appears??!)
For me, though, the child's absence adds to the lingering "doubt" the viewer/reader is left with at the end of the play.
Shanley has been quoted as saying that the play is an allegory of the Iraq war, mainly the idea that not everything is black or white (the presence of WMDs, the impetus for bombing Baghdad, etc.) -- in today's world, there should always be room for doubt.
Cherry Jones heads the touring show which is in DC right now. I plan to catch it this week.
Edited By flipp525 on 1174321335
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
Yay, others don't like Doubt. I was mixed on it originally, with sky high expectations (it dominated critics awards that season). But, after having read all four Tony nominees that season (Democracy, Gem of the Ocean, The Pillowman), it's clearly the weakest of the lot (to read, anyway).
I haven't seen the film, but I though Friel's Dancing at Lughnasa was heavenly to read.
I haven't seen the film, but I though Friel's Dancing at Lughnasa was heavenly to read.
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I'm so glad I wasn't the only one who found Doubt overrated. I certainly agree, Damien, it's totally anachronistic, in addition to being schematic when it should be emotional (this is actually a play about pedophilia where the child in question NEVER appears??!)
Plus, I don't think it's nearly as ambiguous as it thinks it is, and hammers the same one (not very deep) point home a little too much. I don't want to make it sound like I disliked the thing, because I found it compelling...but the rapturous acclaim it's received is rather astonishing to me.
And I agree about the accents. My sister wondered why Cherry Jones spent the whole play trying to do a bad impersonation of Katharine Hepburn.
Plus, I don't think it's nearly as ambiguous as it thinks it is, and hammers the same one (not very deep) point home a little too much. I don't want to make it sound like I disliked the thing, because I found it compelling...but the rapturous acclaim it's received is rather astonishing to me.
And I agree about the accents. My sister wondered why Cherry Jones spent the whole play trying to do a bad impersonation of Katharine Hepburn.
Meryl was in the film version of the Tony-winning Dancing At Lughanssa. which sank without a trace.flipp525 wrote:Meryl elevates anything she's in though, Damien.
Tee, I'm glad we're on the same page with those awful Doubt accents. And for the life of me I'll never understand why Adriane Lenox won a Tony for her little nothing of a performance.
A major problem with that play is that it grafted a 2000s sensibility onto events set in the mid 60s.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
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If Shanley has everyone do those godawful Bronx accents they did on stage, it'll be unbearable (I apologize to all Southerners whom I've tsked at over the years for being so sensitive to poor accents; hearing a dialect with which you're familar turned into a cartoon is painful).
Doubt is a glib play, and all talk -- neither of which argue for its being a very successful transfer.
Doubt is a glib play, and all talk -- neither of which argue for its being a very successful transfer.
Meryl elevates anything she's in though, Damien. Love, Valour, and Compassion! and The History Boys had no-name casts and lacked a reimagining for the screen. I could see Doubt making a big splash, especially if Shanley (Best Screenplay Oscar winner for Moonstruck) is involved. And from what I recall, the small role of Mrs. Muller is quite meaty having won Adriane Lenox a Tony for Best Featured Actress. Whoever gets that role is sure to drum up some Oscar buzz in support as well as La Streep's almost inevitable nomination.
Edited By flipp525 on 1171997577
Edited By flipp525 on 1171997577
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
Doubt is one of the more ridiculously over-praised plays of the last decade. I suspect that film version -- especially when it's being directed by John Patrick Shanley -- will have about as much impact as the film versions of those other beloved Tony and/or Pulitizer Prize winning plays, Proof, Love, Valour and Compassion, and The History Boys.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell