Release: Friday, January 13, 2017 

[Theater]

Written by: Jay Cocks; Martin Scorsese

Directed by: Martin Scorsese

Marty’s new film is so tonally different from what he last put out it made me feel like I was atoning for all those good times I had with Jordan Belfort and company in his Wall Street-based bacchanalian. Silence is such a brutal watch I left the theater pining for them good old days of Leo snorting coke off of Margot Robbie’s chest. Fortunately Scorsese finds a way to make the suffering not only worthwhile but essential viewing.

The customarily near-three-hour running time (which is totally justified and passes by in no time at all) encapsulates a journey the auteur has been wanting to share with the world for some time — nearly 30 years as a matter of fact. Silence is no doubt a passion project for a director renowned for depicting complex morality tales fueled by themes of guilt, corruption and redemption and it carries the kind of weight that suggests this is what he has been building towards throughout a protracted and distinguished career. Whether it’s the director’s crowning achievement is debatable, but there’s plenty of evidence to suggest Silence is no ordinary theatrical release. It’s a transcendent experience that will haunt you long after viewing.

Scorsese adapts his material from the 1966 novel of the same name by Japanese author Shūsakū Endō, who identified as a Roman Catholic. Endō’s sprawling saga told of the life-altering journey undertaken by two Jesuit priests who travel to Japan from Portugal in search of a mentor who goes missing and supposedly apostatizes under extreme duress. The book has inspired two other cinematic adaptations over the years but it’s hard to imagine either of them achieving the same magnitude of emotional and psychological discomfort the noted (and self-confessed lapsed) Catholic has here.

In 1600s Japan Christianity is outlawed, yet small factions still practice in secrecy in the mountainous regions surrounding colonial Nagasaki, where the Spaniard Saint Francis Xavier had decades earlier attempted to plant the seeds of Catholicism in a country that already had an established national belief system. Father Cristóvão Ferreira (Liam Neeson) has for all intents and purposes vanished. Scorsese wants to know what kinds of forces would be necessary to shake a man of his beliefs.

Now we watch as Fathers Sebastião Rodrigues (Andrew Garfield) and Francisco Garupe (Adam Driver) similarly attempt promulgation as they are led deep into the mountains by an alcoholic fisherman named Kichijiro (Yōsuke Kubozuka), a Judas-like snake in the grass who vacillates between denying his Christian roots and wanting desperately to repent. He is an enigma not worthy of our trust, unlike the rest of these “hidden Christians,” who simply yearn for a conduit through which they can confess their sins to God.

Scorsese’s meticulous, methodical direction complements an altogether brilliant screenplay that barbarically strips away hope and conviction from those who find themselves at the center of a bitter ideological conflict. Co-written with three-time collaborator Jay Cocks, Scorsese’s appropriately expansive treatment deals with some upsetting material in a refreshingly blunt but unbiased manner, as emphasized by the numerous observational shots taken at a distance from the violence visited upon the innocent by merciless shogunates like Inoue The Inquisitor (Issei Ogata). As the story unfolds we are challenged to question how much suffering is too much suffering. At what point does a cause become lost?

Several conversations take place that delineate the fundamental disagreement between practicing Buddhists and Catholics. These conversations are simultaneously fascinating and devastating to behold. Whereas Buddhists believe the individual can liberate himself from the perpetual cycle of ‘rebirth’ and ‘death’ (samsāra, which shouldn’t be literally translated as ‘suffering’ but rather a state of bliss that can never last) by choosing not to become obsessed with the material world, Christianity teaches that man can achieve salvation by governing their lives in a manner congruous with that of Jesus Christ. Of course, we all know how complicated it becomes when interpreting what is meant by following in his footsteps. All bets are off when what we’re arguing is whether or not being on Earth is merely another train station or the final destination.

Those conversations are largely what make Silence such a tough watch. Sure, the movie is violent and cruel in ways that you probably have never imagined, but it’s the stalemate we arrive at time and time again when neither party can convince the other. When no concessions can be made. What fuels emotional devastation is a combination of our steadily accrued respect for the priests and the narrative’s balanced perspective. It neither vilifies the Japanese nor glorifies Western influence. No party is entirely right and no party is completely off-base. We listen, we observe. We try to understand both views, though ultimately we are meant to empathize with one side more than the other.

Garfield, on the back of his portrayal of a similarly beleaguered soul in Mel Gibson’s tribute to real war-time hero Desmond Doss, essays a role for the ages as the Christ-like Father Rodrigues. Perhaps it’s worth noting how good Scorsese is in bringing out the absolute best in his actors, lest I lay too much at the foot of the budding British actor. Still, this is Garfield like I’ve never seen him before and it is an utterly heartbreaking performance that almost assuredly promises a nomination. Long gone it seems are the days of slinging webs in Manhattan.

If his co-star occupied the same amount of screen time, he too might’ve found himself on the ballot. Perhaps he still will. Driver’s contributions to the story, in particular that first third, are invaluable. Even though neither actor can quite convince us of their Portuguese descent — accents most notably slip when emotions run high — Driver in particular is good at reminding us of the flesh that lies beneath the cloth. He exudes self-doubt and vulnerability, at least more readily. Indeed, these are just men caught up in some extraordinary circumstances.

The mortality of these priests is what challenges us to really embrace the existential crisis at the heart of Silence. Scorsese of course is not asking the audience to do anything crazy like renounce their faith in a movie theater but he is challenging us to ponder ‘what if.’ That almost assuredly is the direction he gives his two leading men. What if what these priests are doing is actually causing more harm than good? What if you surrender everything you have known to be true for the sake of sparing others of their pain? Does self-doubt mean you have compromised everything? Does a simple physical act confirm what you feel in your heart?

Few of these questions come with answers. If we’re to pursue them, we’re better off trying post-viewing. That’s assuming answers are to be found at all. That kind of open-endedness could prove frustrating for some viewers, but I found it cathartic. Silence is a monumental achievement you have to experience for yourself, no matter what your beliefs are.

Recommendation: Whether you identify as devout, agnostic or atheist you owe it to yourself to see Martin Scorsese’s historical/religious epic. It is going to be one of the hardest movies you’ve ever tried watching but come the end of it you’ll be glad for the opportunity. As for replay value, however, Silence might prove less successful. 

Rated: R

Running Time: 161 mins.

Quoted: “I pray but I am lost. Am I just praying to silence?”

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Photo credits: http://www.impawards.com; http://www.rogerebert.com