The campaign to normalize pedophilia has been going on for quite some time. It is more than just the ACLU defending NAMBLA, it is a seeping into the culture of pedo themes and sympathetically portrayed chomos.
Many links in original article.
http://bighollywood.breitbart.com/jjmnolte/2009/01/04/movie-review-doubt/#more-8197Movie Review: Doubt
by John Nolte
As documented here, here, and here, through the portrayal of the sympathetic child molester, the onscreen hyper-sexualization of young girls, and child characters liberated through sexual behavior, for a number of years now the film industry has waged a drip-drip campaign in favor of the normalization of sex between adults and underage children. The offensive is a quiet, insidious one slowly slithering into the mainstream, and like all Leftist movements, will not stop until it gets what it wants.The most recent drip on this wicked front comes from the well-reviewed Doubt, which might just earn an Oscar nomination for a “daring” use of nuance when it comes to what decent people call “the rape of a child.” **MAJOR SPOILER COMING**
Other than Amy Adams‘ Sister James, who’s more simpering than sympathetic, Doubt gives us one truly sympathetic character and she’s a-okay with a grown man sexually abusing her twelve-year-old son. After being informed by Sister Aloysius (Meryl Streep) that her son is very likely the victim of sexual abuse at the hands of Father Flynn (Philip Seymour Hoffman), the boy’s mother (Viola Davis) sees the glass half full. You see, the young man’s gay and therefore a social outcast beaten by his homophobic father, and so awful is all of this that maybe the best option left for him is at the hands of a sympathetic, forty-something, molesting predator.
To her credit Sister Aloysius is horrified, but Sister Aloysius is portrayed in the film as her own kind of monster. So our sympathies are quite obviously supposed to be with a working class black mother stuck in an abusive household desperate to do anything to help her boy.
The film’s defenders will call this turn of plot, complicated, nuanced, realism … anything but what it is, monstrous.
**END SPOILER** On the stage, Doubt won both a Pulitzer and Tony for its Oscar-winning creator, John Patrick Shanley, who directs the film from his own adapted screenplay. “Doubt” is more than the title, it’s also the theme, which leads to a lot of inconclusiveness, hand-wringing, one good performance, overblown symbolism, and a silly ending meant to punctuate the theme but feels more like one of Sister Aloysius’s sharp whacks to back of the head.
The year is 1964 and since Father Flynn’s recent arrival at the Bronx Catholic high school a silent war of wills has been going on between this progressive priest and the traditional, more conservative school principal, Sister Aloysius. Whereas he believes the parish should be a part of the parishioner’s family, she prefers a disciplined distance and finds the slippery slope to sin in ballpoint pens and Frosty The Snowman.
It’s the era of desegregation and Donald Muller is the school’s first black child, and a lost soul for reasons more than having to do with skin color. As an altar boy, Donald finds a friend in the sympathetic Father Flynn but a series of small, questionable events create a suspicion between Sisters’ Aloysius and James that the relationship between Priest and altar boy might have taken an unhealthy turn. Up against an all male hierarchy and with only circumstantial evidence to back them up, it’s left to the two nuns to remedy the situation.The film does a good job shaking off its stage origins through the use of the Catholic school as a society unto itself. All gray skies and dirty brick buildings, the photography and production design are bleakly institutional, as are the characters. All carry pasty faces that jut from black clothing separated only by small, black eyes. This is a world without warmth and even less certainty.
Set amongst the details of Catholic ritual found in both the high school and the church, the first half of the story is weighed down only by Streep’s inability to grasp her character, specifically the New Yawk accent. This is Streep at her late-career worst, acting through affectation and look-at-me accents — anything other than then being natural. Thankfully, as the film moves into the nitty-gritty of the drama, she settles down and stops distracting with all that showy technique.
As always, Philip Seymour Hoffman is superb. There are so many shadings to his character that your opinion of whether he’s guilty or not will change many times over the course of just a single scene. Amy Adams is fine, if a little too wide-eyed, as the young nun unsure of everything and waiting for decisions to be made on her behalf.
There’s a couple of excellent scenes, especially the one where the Sisters first confront Flynn. But a heavy hand weighs over much of the rest. A wind blowing in as metaphor for change isn’t exactly original, and a light-bulb that burns out at a couple of opportune moments is too cute by half.
Laden with subtext referencing the daily headlines exposing the Catholic church’s disgraceful sexual abuse scandal from a few years ago, Doubt does those victims a disservice. All of us Catholics are tired of Hollywood taking shots, but where openhanded criticism is appropriate they balk, even at a clear condemnation of child molestation.
Film’s aren’t becoming more nuanced, they’re losing their humanity.
