Tom McCarthy’s drama, born of reality, is quietly understated, no-frills filmmaking; a compelling unspooling of the Boston Globe’s investigation into historic child abuse by the Catholic Church. Eschewing thriller conventions, “you have no idea how high up this goes” clichés and the overdramatising of material, including egregious sentimentality, Spotlight, referring to the investigative quartet on the case, grips with matter-of-fact horror and the gradual accruing of detail. A fine cast, spearheaded by Mark Ruffalo, Michael Keaton and Rachel McAdams, add a low-key human dimension; actors canny enough to realise that too much earnestness, over emoting or playing a scene for prestige, would undermine the story’s serious and at times ugly underpinning. As if to underline the film’s reportage manifesto, it’s all scored using that great signifier of real world sobriety, the piano. This is not entertainment, do you understand?
So with that out of the way we’re able to go deep into the heart of the matter, the church’s diocese of degeneracy, where, according to one researcher consulted by the team, an estimated 6% of priests will be sex offenders. In Boston, a catholic city, with many churches overlooking playgrounds, that’s 90 priests in the frame. As the film’s investigators knock on doors and parry bribes and veiled threats from church officials, it becomes clear that shocking figure isn’t pessimistic. “How do you say no to God?” asks one shaky victim, raped aged 11, and the answer, in a city built on faith, appears to be ‘you can’t’. Worse, the offenders, as outlined in one shocking scene in which McAdams asks a timid looking priest to confess, only to hear him admit it without shame, but claim it was “just fooling around” unlike his own childhood rape, appear as damaged as their victims; just the latest generation of abusers within an institution that accepts warped sexuality as a necessary by-product of its repressive conditioning.
To McCarthy’s credit, what could have been, well, pious, is an even-handed retelling of a terrible story. Spotlight acknowledges the hard work and diligence of a team of outsiders who shone their torch on an established abuse racket that included judicial collusion, but it’s a film without heroes. The Globe, who researched the exposé, broke the story many years after been sent tell-all accounts from victims, and the movie acknowledges that journalists were wilfully blind to the scale of the scandal, including those who’d later work on the titular team.
“It’s like everyone knows the story”, says Ruffalo, in sight of the Globe’s headquarters, only to be told, “everyone except us”. Yes, it was the worst kept secret in the world, it seems, but witnesses, from former victims to court officials to beat cops, withered in the shadow of the local church. The movie revels in the juicy irony that it took a Jew, new editor Marty Baron (played by Liev Schreiber) for everyone to get their shovels out and start digging. Late justice for over a 1,000 victims then, but in Spotlight the better-late-than-never investigation gets its due, along with the brave souls that held out while the people of Boston and elsewhere looked the other way.
“(…)an institution that accepts warped sexuality as a necessary by-product of its repressive conditioning.”
Yeah. That’s the kind of thing Catholics deserve to read. Because a married atheist guy will never be a paedophile; and neither in buddhist centers or in public schools this could ever happen, right? Thank you for your hypocrisy, it only defines yourself.
My, this is a strange bit of commentary. Anne, are you suggesting that as a Catholic you’re entitled to read a review that doesn’t criticise the church and the culture of turning a blind eye to child molestation that Spotlight documents; a practice that was discovered to be global and as ingrained as Holy Communion? I’m terribly sorry if that upsets you, but tough shit.
The difference between the scandal the film explores and your examples – an atheist, a Buddhist – is that neither is an institution with a strangle hold on communities, woven into the fabric of society. I’d say that was quite a betrayal, wouldn’t you? As for public schools, don’t many of them have a religious foundation? Are you sure you chose the best example of another type of institution that doubles as a hunting ground for sexual deviants?
To draw attention to the Church’s role in burying what happened is not to excuse any other instance of kiddy fiddling, but respectfully, this movie was about the Church and real flesh and blood victims, not the imaginary examples in your head. You may want to think about that before making knee jerk, defensive comments on the Internet. That idiocy defines you.