John Patrick Shanley has adapted and directed his lauded stage play for the screen, opening it up some but basically adhering to the original situation in a Bronx, N.Y. school in the 1960s. Philip Seymour Hoffman is vigorous in his role as Father Brendan Flynn, who has taken a special interest in a troubled alter boy, played nicely by Joseph Foster II. Is more than a sincere effort to help going on? Father Flynn is both angry at and cowed by Sister Aloysius’s threats of exposure.

Hoffman achieves the feat of a performance that makes us believe either side of the accusation. He could retreat as a result of guilt, or because he sees the accusation itself as career destroying and thinks a battle would be useless. Our own view may be colored by what we know of rampant, proven abuse in the church, and the vindictive nun has cast aspersions on the priest’s past record.

Two others also offer effective performances that add to the film’s power. Amy Adams is convincing as Sister James, a young nun and teacher who has faith in Father Flynn. She is shaken and appalled at Sister Aloysius’s nasty accusation that runs counter to what she thinks. And Viola Davis is outstanding as Mrs. Miller, mother of the boy in question. Davis gives a wrenching performance in taking a position that even if she were to accept the accusation, making peace with it would be better than a scandal that could do irreparable harm to her son.

A few misgivings: Sister Aloysius, as portrayed by Streep, is so sanctimonious that, Streep’s acting notwithstanding, one is hard-pressed to accept the ending—I won’t tell you what it is--as completely credible. Also, in opening up the story, Shanley succumbs to temptation by illustrating a sermon involving the cutting open of a pillow, showing a scene in which feathers are being blown all over the neighborhood. Did we need this sky full of feathers to get the point?