Joe Morgentern‘Silence’ Review: Torturous Tests of Faith Martin Scorsese’s film follows two Portuguese Jesuit missionaries who travel to Japan in the 17th century
http://www.wsj.com/articles/silence-review-torturous-tests-of-faith-1482432008
In the filmmaking world a passion project can be prompted by anything from cherished books first read in childhood to obscure oddities that no one wanted to finance. Martin Scorsese’s “Silence” redefines the category. It’s a film that Mr. Scorsese has wanted to make for almost three decades, and passion is its subject—the spiritual passion of two Portuguese Jesuit missionaries who travel to Japan in the 17th century to find their mentor, a priest believed to be an apostate, and living as a Japanese with a Japanese wife. This is filmmaking as an act of devotion, and exploration—not just of the nature of faith but of faith’s obverse, abject doubt. The production is physically beautiful, and evokes the beauties of classic Japanese films, but the substance makes few concessions to conventional notions of entertainment. What the missionaries endure at the hands of their Japanese tormentors—torture, isolation and more torture—is almost unendurably violent, and, at a running time of 161 minutes, punishingly repetitive.
The film is based on the novel of the same name by Shusaku Endo; Jay Cocks and the director wrote the screenplay. Andrew Garfield and Adam Driver are the missionaries, Rodrigues and Garrpe. Their performances are obviously not meant to be entertaining, and never venture into so much as the outskirts of enjoyable. But they’re notable, all the same, for their intensity and focus—two modern movie stars giving themselves over entirely to roles that require steadfast self-effacement. (Liam Neeson is Ferreira, the mentor they seek.)
And though “Silence” is obviously not a genre film in the usual sense, the story functions as a search, or trackdown, if you will, through fascinating territory—and across land- and seascapes photographed with quiet elegance by Rodrigo Prieto. The feudal Japan that the missionaries discover is a savage place where Christianity is seen as something akin to the plague, an alien infestation to be stamped out wherever it’s discovered, and always by the same methods—threats of death, backed up by pitiless torture, that force Christians into public displays of apostasy. And the Christianity that Rodrigues and Garrpe discover is, as Mr. Scorsese portrays it, a re-enactment of the origins of the faith, with secret gatherings of congregants in caves. CONTINUE AT SITE
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