'SILENCE' - REVIEW

Release Date: Sunday the 1st of January (UK Release)

Directed By: Martin Scorsese

Written By: Jay Cocks and Martin Scorsese

Produced By: Martin Scorsese, Barbara De Fina and Irvin Winkler

Starring: Andrew Garfield, Adam Driver, Tadanobu Asano, Yosuke Kubozuka, Issey Ogata and Liam Neeson.

Distributed By: Paramount Pictures

A 30 year struggle of a man fighting to find meaning in his ultimate passion, and that's just the making of Scorsese's epic. A film which adds a real sense of patience to the term passion Project, 'Silence', based on Shūsaku Endō's novel of the same name tells the story of two Seventeenth Century Jesuit Priests Father Rodrigues (Garfield) and Father Garrpe (Driver) who head out to Japan in search of  their mentor Father Ferreira (Neeson). Turmoil and torture ensue as they face not only being the representatives of an outlawed faith in a somewhat hostile environment, but also their own belief and it's repercussions.

Despite being a filmmaker who always almost effortlessly engrosses them self in every picture, not since his 1973 feature 'Mean Streets has Scorsese's sheer love for a film bled through the screen. Dealing with the themes of faith and compassion, themes very much at the heart of his filmmaking what with initial desires to make a career as a Catholic Priest, Scorsese manages to give the subject matter severe heft and weight, a feat not to be sniffed at. Casual fans may claim this to be a large departure from the usual visual stimuli conjured up by one of the masters, closer inspection however would reward said fans with the likes of 'The Last Temptation of Christ' and 'Kundun', both examples of Scorsese's previous efforts which have faith at the forefront. 

With a premise which may pass as an 'Apocalypse Now' esque narrative, utilising a much steadier pace equating in a lengthy runtime, The Master manages to craft a severe sense of threat with both father's continually under threat from severely long drawn out torture should they be discovered by the Inquisitors, relentless representatives of Japan’s anti Christianity law.

Maintaining a somewhat abstract and highly sensitive subject matter, with regards to character there is risk of tarring one particular faith as the antagonistic course. The beauty of Silence lies within it’s unbiased perception of faith in its many forms. With Garrpe and Rodrigues, both physical and metaphorical figureheads of the Christian faith to the small villages of Japan, the conflict arrises with the introduction of the Inquisitors. Their very introduction, notably the opening image through a thick mist to reveal the removed heads of outlawed Christians, giving an instant sense of trepidation. The development of the proposed antagonists really kicks off during the second act with the introduction of Issei Ogata’s chief inquisitor, an old Samurai who as we go on reveals he has no true hatred for Christianity but is merely following the rules set in place for the good of his country. A further dimension is added with Tadanobu Asano’s interpreter who with every dialogue heavy scene with Rodrigues, becomes the devil on his shoulder, chipping away at his faith and playing on the sheer amount of suffering being caused

Scorsese goes further to enhance the inner turmoil of the father’s minds as we see sheer faith power the will of the numerous villagers to willingly hide the priests and in various, horrifying sequences, sacrifice themselves to the ruthless torture and excruciating death. Whilst the runtime may at first seem something of a mountain at 180 minutes, any anxiety is ebbed away as whilst the third act may overstay it’s welcome to a point, the investment in the characters is where Scorsese’s strength really shines. The primary perspective being that of Father Rodrigues, we follow him as his faith is tested at every turn, despite the unquestionable faith displayed at the beginning of his mission, through a deep interior journey, his unflinching faith is uprooted piece by piece. 

In terms of performance, there is not a weak character to be found with the previously mentioned Ogata and Asano fantastically understated and bringing a deep sense of humanity to the force attempting to stamp out the Christian faith. Both Driver and Neeson, much more in the support slot this time around again give incredibly strong performances, Driver’s Garrpe coming forth as a relentless if subtle force of a faith driven man, his final scene showing a method actor who is still on the up and up. Garfield however is in a league of his own and displaying a performance destined for awards chatter as he exudes intrigue and intense sorrow.

Alongside the wealth of strong performances and strong writing, this picture also see’s Scorsese reuniting with ‘The Wolf of Wall Street’ DP Rodrigo Pierto, resulting in some truly astonishing visuals from deep, mist saturated forests, to wide and blisteringly crisp beaches. The palette beautifully varied to encompass a range of natural aspects, displaying Scorsese's love and homage of Kurosawa, the symbolism is rife within every frame to envelop us deeper into the heart of Japanese culture. Shot entirely on 35 millimetre film (his first since 2010’s ‘Shutter Island’) Pierto paints a wonderfully tranquil painting of a Seventeenth Century Japan which is as much a character  of the narrative as the stellar cast.

A filmmaker still at the top of his game and the reason I chose to pursue a career in film, Scorsese has once again proven that even at 74 he can still bring something fresh and surprising to his already astounding back catalogue. Whilst it may not be his most high octane thrill ride of a film, here he displays his highest passion through his second highest passion, film. Having always made films on his own terms, his way with little to no studio interference, Scorsese’s integrity as well as his film is something very inspiring and needed as 2017 opens on what will be hopefully a very strong year, with ‘Silence’ leading the way with hopeful and much deserved accolades on the horizon. 

"The price for your glory is their suffering" - Inoue