[yasr_overall_rating]
In the seventeenth century, two Jesuit priests face violence and persecution when they travel to Japan to locate their mentor and propagate Catholicism.
Martin Scorsese continues his quest to understand his own faith as the writer and director of “Silence.” Based on Shusaku Endo’s novel, Scorsese battles his inner demons on screen. This film is unique in the lack of music, the understated theatrics, and parallels to the trials of Biblical figures. Despite the extended length of this movie, two hours and forty-one minutes, the pace and empathic characters hold your attention even past the end credits. “Silence” appears upon first glance to be a battle between the Japanese government and missionaries seeking to spread the gospel of Jesus Christ, but the film is really a dramatic account of Scorsese’s personal weakness in faith.
Jesuit Priests Rodrigues (Andrew Garfield) and Garrpe (Adam Driver) leave their home in Portugal to search for their former teacher Ferreira (Liam Neeson) — who has gone on a mission in Japan — after a loss of communication. In 1630, Christianity was illegal in Japan, punishable by torture and death. With the help of a Christian guide akin to Judas, Rodrigues and Garrpe find themselves secluded in a small community of underground believers determined to keep their faith hidden from the government who seeks to pull the roots of Christianity out of the country. The guards focused on pursuing followers, make their way to the town housing the Jesuit Priests.
Determined to uphold the law, the guards torture the Christians who refuse to denounce Christ. Aware their presence is harming the locals; the priests split up to seek Ferreira. The story switches to focusing on Rodrigues, as he travels towards Nagasaki. His guide, Kichijiro, betrays him for silver. Upon being captured, Rodrigues is forced to watch Japanese Christians tortured without mercy as the Inquisitor seeks to force Rodrigues to apostatize. Unwilling to deny his Lord and Savior, the governing officials increase their methods to force the young Priest from his resolute faith.
Rodrigues’ faith falters as more lives are lost and blamed on his immovable conviction. Christians are brutally killed time and time again, yet his faith does not break down. In a last ditch effort to force Rodrigues to apostatize, the officials bring him to Ferreira. Rodrigues’ pleasure at finally completing his mission dwindles quickly when he finds his former teacher has given up all ties to the Catholic church and denounced Jesus as his savior. Moreover, he has chosen to write books for the Japanese government in an attempt to squelch fledgling believers from taking up or carrying on the faith of Europe. At his weakest hour, with his goal impossible to complete, Rodrigues reaches a crisis in his faith and is forced to decide between the life of the Japanese Christians undergoing torture, and staying true to his convictions.
Andrew Garfield beautifully portrays Rodrigues. His ability to create a character worthy of empathy is superior. Adam Driver, who plays Garrpe, is equally moving. Liam Neeson’s role is already unlikable, but he failed to be believable in his role of a fallen priest. He should stick to movies where he is defending the innocent or shooting moving targets. The standout characters were Yôsuke Kubozuka, who played Kichijiro, and Issei Ogata, the Inquisitor. Kirchijiro does not just play Judas but also a wretched human incapable of remaining steadfast in his beliefs. He tests the boundaries of forgiveness but never loses hope of becoming a better person. Inoue, the Inquisitor, is the most comical enemy with his strange voice and odd mannerisms. At one point, he physically deflates, an absurd gesture meant to intimidate, which was easily the highlight of the film. The entire Japanese cast performed their difficult roles with what appears to be haunting accuracy.
The over-riding theme Scorsese battles is his relationship with God. For some reason, he placed this struggle on Japanese soil in the 1600s. The film leaves some ambiguity as to what Scorsese is trying to tell his audience or what he has learned about himself in this story. Having never hidden his Catholic tendencies, it seems odd to speculate this film is handing a nation over to the enemy and calling God the loser. More likely, the parallels between the apostle Paul and the journey Rodrigues endures also parallels Scorsese’s desire to know how strong his convictions would be under great distress.
The implications behind the name “Silence” are what distress me, a devout Christian. Is Scorsese claiming God has been silent? Yet in the film, Rodrigues hears the voice of God. I want to believe the film is about understanding the suffering of Christ on a personal level, but feel more compelled to believe the movie means to express God is quiet when we call to Him. Other elements lead me to wonder if the point is God speaks but we do not hear. I would prefer to have a more concrete answer as to the purpose of a movie that kept my attention for over two and half hours. I appreciate the understated beauty and limiting the drama to people instead of imagery despite my lack of understanding. While I will not watch this movie again, it had my full attention; I just wish I had been rewarded for my time with a clear understanding of what point the director was rambling towards.
In select theaters Friday, January 6th, opens nationwide Friday, January 13th
