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Original title:Silence
Category:Movie / Adventure / Drama / History
Released:2016
Director:Martin Scorsese
Actors:Andrew Garfield,Adam Driver,Liam Neeson
Writer:Jay Cocks,Martin Scorsese
Budget:$46,000,000
Duration:2h 41min
Video type:Movie

Rating 7.2: Votes 575

2016 Andrew Garfield Adam Driver Liam Neeson Martin Scorsese

Short summary

In the 17th century, two Portuguese Jesuit priests travel to Japan in an attempt to locate their mentor, who is rumored to have committed apostasy, and to propagate Catholicism.

The story of two Catholic missionaries (Andrew Garfield and Adam Driver) who face the ultimate test of faith when they travel to Japan in search of their missing mentor (Liam Neeson) - at a time when Catholicism was outlawed and their presence forbidden.

Trailers "Vaikus (2016)"

Adam Driver lost 50 pounds for the role; 30 before filming, and 20 during filming.

According to Liam Neeson, director Martin Scorsese is "intimidating" on the set and "he requires absolute silence...if he hears one tiny sound, it shatters it for him."

The film was screened early to 400 Jesuit priests in Rome.

Filming took 73 days.

The story is based on historical facts. However, while keeping the character name of the hero's mentor Father Ferreira, who was an actual historical figure, author Shusaku Endo changed the nationality of the hero, who actually was an Italian named Giuseppe Cara, to Portuguese, thus making him the same nationality as Ferreira, and gave him the fictional name of Sebastian Rodrigo (in the English translation, translated as Rodrigues).

When the project was announced, Daniel Day-Lewis was set to play Father Ferreira, Gael García Bernal was set to play Father Rodrigues, and Benicio Del Toro was set to play Father Francisco Garupe. They all dropped out of the project after repeated development delays.

Martin Scorsese and screenwriter Jay Cocks had written an early draft of the film in the 1990s with the intention of Scorsese directing it after Gangs of New York (2002). But when Scorsese couldn't get financing for the project, he decided instead to do Aviator (2004).

Daniel Day-Lewis and Liam Neeson replaced each other in projects that were both stuck in development for years. Neeson was set to play Abraham Lincoln in Lincoln (2012). When Neeson dropped out of the project, Day-Lewis replaced him. Later, Neeson replaced Day-Lewis in this film, after Day-Lewis was set to play the role of Father Ferreira.

The film's premiere was held at the Vatican.

Martin Scorsese's first writing credit on a feature film since Casino (1995).

Author Shûsaku Endô said he was inspired by Federico Fellini's Das Lied der Straße (1954) in conceiving this story, particularly the character of Kichijiro.

Liam Neeson lost 20 pounds for his role.

Ang Lee helped Martin Scorsese decide on different locations for the filming of this movie in Taiwan.

Ken Watanabe was originally slated to play the Japanese interpreter for the Jesuit priests. He dropped out before filming commenced.

According to producer Emma Tillinger Koskoff, this shoot was as grueling as any she and Martin Scorsese had ever experienced. Weather conditions in Taiwan were inhospitable, and the production was daylight-dependent. The budget did not allow for any luxuries.

Andrew Garfield took a year off, cultivating a lot of head and facial hair growth, before tackling this epic project, and then went straight into Hacksaw Ridge - Die Entscheidung (2016).

Andrew Garfield and Adam Driver spent a week at St. Buenos, a Jesuit retreat in St. Asaph, near Prestatyn, Wales. They didn't speak for a week, per the retreat rules, so they could get a feel for the spirituality needed for the roles.

In Martin Scorsese's own words, Silence (2016) is about "the necessity of belief fighting the voice of experience."

Martin Scorsese's third religion-based film, after Die letzte Versuchung Christi (1988) and Kundun (1997).

In October 2016 producer Irwin Winkler said that he personally believes this film is the best that Martin Scorsese has ever made. Winkler produced Scorsese's films New York, New York (1977), Wie ein wilder Stier (1980) and GoodFellas - Drei Jahrzehnte in der Mafia (1990), and was an executive producer on The Wolf of Wall Street (2013).

According to cinematographer Rodrigo Prieto the film was mostly shot on 35mm, except the night scenes with candles. Those were shot digitally, with an Arri Alexa and Zeiss anamorphic lenses because of the higher low-light capability.

Martin Scorsese was given the novel "Silence" by the Rev. Paul Moore in 1988. Moore was the most renowned liberal Protestant Episcopal priest of his time, when he served as the Bishop of the Diocese of New York.

This is Andrew Garfield's second film of 2016 with religious overtones, set mostly in Japan. The other is Hacksaw Ridge - Die Entscheidung (2016).

The theatrical trailer and poster were released a month before to the film's limited theatrical release in the United States.

Martin Scorsese had been talking about directing an adaptation of this film since the 1980s and entered the first of many written agreements with Cecchi Gori Pictures in 1990. At the time it was to be the next feature Scorsese directed after Kundun (1997). He then opted to direct a series of features, including Bringing Out the Dead - Nächte der Erinnerung (1999), Gangs of New York (2002) and Aviator (2004), allegedly agreeing to direct the film after the latter, which didn't happen. Following another negotiation, Scorsese agreed to pay various fees after each feature he directed prior to the adaptation, including Departed - Unter Feinden (2006), Shutter Island (2010) and Hugo Cabret (2011). On August 22, 2012, after Scorsese agreed to direct The Wolf of Wall Street (2013), Cecchi Gori Pictures sued him and Sikelia Productions, claiming two breaches of written contract, intentional misrepresentation and negligent misrepresentation. The final two charges stemmed from their belief that Scorsese and Sikelia Productions falsely represented their plans to make this film after "Hugo," which included $1.5 million plus 20% of all "back-end" compensation received by the director, related to "Hugo." Scorsese claimed the lawsuit "has all the earmarks of a media stunt," and for a while it looked like the film would stay in limbo. On January 17, 2014, all sides reached a legal settlement. The film was finally in production, solidifying its spot as Scorsese's next feature after The Wolf of Wall Street (2013).

The second film based on the novel of the same name. The first was a Japanese production, Chinmoku (1971), released in 1971, five years after the book was published. Both films has the Portuguese characters speak English. However, Scorsese's film is closer to the original novel and retains it's original ending.

The three main characters are Portuguese, but aside from their names, none of them speak a word of Portuguese throughout the film. The masses are conducted in Latin.

Martin Scorsese dedicated this film to his wife Helen Morris Scorsese and their daughter Francesca Scorsese.

For his deeply religious role here as a Jesuit priest, Andrew Garfield was intensely mentored by Father James Martin, esteemed author and editor-at-large of "The National Catholic Review - America".

Liam Neeson played another Jesuit priest in Mission (1986).

There is an interesting modern parallel in the Vatican's recent betrayal of the underground Catholic Church in China and conceding the supremacy of the state-run "Patriotic Catholic Association."

The second collaboration between Martin Scorsese and Liam Neeson after Gangs of New York (2002).

Tadanobu Asano, SABU, and Shin'ya Tsukamoto previously worked together in the ultra-violent Japanese thriller Ichi the Killer (2001), directed by Takashi Miike. Martin Scorsese acknowledged this connection.

Martin Scorsese actually read the source novel in Japan.

This is the second collaboration between Martin Scorsese and Liam Neeson in which Neeson plays a priest. In Gangs of New York (2002), his character was named Priest.

This was the only non-Best Picture Oscar nominee that year to be nominated for Best Cinematography.

Liam Neeson played Qui-Gon Jinn in Star Wars: Episode I - Die dunkle Bedrohung (1999). Adam Driver played Kylo Ren in Star Wars: Episode VII - Das Erwachen der Macht (2015).

While growing his hair and beard to play a seventeenth-century Jesuit priest for this movie, Andrew Garfield appeared on Jimmy Kimmel Live! (2003) and read a tweet from a user who claimed he looked "like a pedophile that lives in an RV".

Shin'ya Tsukamoto is long time fan of Martin Scorsese and eagerly applied for a role. Scorsese on the other hand was confused when the application reached him, questioning if it really was the director of Tetsuo (1989) that wanted to act in his film.

After Andrew Garfield's character apostatizes, a rooster can be heard crowing three times. In the Bible, after Peter denies Jesus three times, it is written that a rooster crowed.

Martin Scorsese: Toward the end, when Ferreira and Rodrigues are in Nagasaki filtering through the material coming off the trade ship. Scorsese is seated at a table in the courtyard, at the far left, wearing a traditional missionary cloak and large-brimmed black hat.

Andrew Garfield doesn't share a scene with Liam Neeson until two hours into the movie.

User reviews

Author: Freighton

Agnus Dei that is, Lambs of God. What an extraordinary film.Martin Scorsese confirms his seriousness of intent and his enormous respect for his audience.He rates us so highly that he confides in us, telling us something that clearly comes straight out of his heart. Dry, severe, an intellectual's sensibility that becomes clear and accessible to all as we realize that Scorsese is not trying to sell us something but just to tell us, to share with us something that obsesses him. I was enthralled and moved throughout. The performances in a Scorsese film are always superb but in Silence, Andrews Garfield goes a step beyond superb. He managed to make his priest someone I knew personally even if his reality is far, far away from us in time and space. A masterpiece.

Author: Blackseeker

The experience is extraordinary from different reasons. Martin Scorsese with a legendary career behind him breaks new ground with the fierce and renewed passion. A film made for the love of film not for box office expectations. A work of love from beginning to end. Then, Andrew Garfield. What a year for this young spectacular actor. The kindness in his eyes made the journey so personal for me. I must say that I've been very lucky because I've been lead by my mentor (another Martin by the way)into the world of Scorsese. I found Scorsese's films brilliant yes, but too dark, too violent and hopeless and my mentor said, "No, don't stay in the periphery, go in. You'll see Martin Scorsese's films are religious experiences" Well I got in, I saw, I felt, I understood and as a consequence I wept for most of Silence. Thank you Marty and Martin from the bottom of my heart.

Author: Kaim

SILENCE is beautifully filmed and strangely involving for such a grim and slow-moving tale. For a 2 hr 40 min movie, I never felt bored or felt that the story was unnecessarily stretched out. As an ex Catholic who, as a child, was intrigued by the idea of martyrdom and by tales of the saints who were killed because they refused to renounce their faith (and so, got an express ticket to heaven - a very attractive end result for one who feared hell as much as I did), I could identify in a more distanced way with the protagonists and their Catholic followers in Japan.

I expected that in telling a story set 400 years ago, Scorsese would provide some kind of modern day insight (psychological, political,sexual) to the true events depicted in his narrative. Instead, all I could glean was that this was a film by a devout Catholic, about devout Catholics. Who would have thought Scorsese was possessed by such primal and dogmatic religious feelings?

Shockingly, the Japanese culture is referred to more than once as a 'swamp' where nothing truly spiritual, much less Catholic, can grow. The inquisitor who persecutes the Catholics is portrayed by a lizardy actor with a high pitched voice, doing what I guess is the Japanese equivalent of a moustache-twirling villain. Cruelty, execution and torture take up a large part of the picture, and while accurate I suppose, is probably no worse that what was done by the Catholic inquisition in Europe.

I was hoping for some kind of statement about religious fanaticism, and at one point, when a Buddhist is trying to reason with the priest, asking why it isn't better to focus on the common elements of the world's different religions, I thought the film was going in that direction. But it ends on an 'upbeat' religious note, when it is revealed that the priest held onto his faith in the Catholic god right up to the end. The film was premiered at The Vatican which says a lot about where it's coming from. There is a dedication to the priests and converts in Japan.

I wasn't impressed by Andrew Garfield in the central role. I felt like he was miscast, so it's mostly not his fault - too young and modern (and who kept his hair so coiffed in the first half of the movie?). Adam Driver was excellent as always, but not sure why he felt he needed to lose all that weight for the role, he was really skinny and sunken-eyed. Liam Neeson, also miscast with his very tall stature and hard-to- disguise Irishness was good in a thankless role. The Japanese actors (except for the inquisitor) were fine, but most of their characters were never really developed into anything more than simple-minded worshippers or cruel torturers.

Author: Anarahuginn

It's Scorsese. Martin Scorsese. He makes the best films. Is this one of his best? Hmm....

It's a personal/religious epic, but it's all about the interior self - an intimate epic, which is always the toughest to pull off. Silence chronicles morality in such a way that is staggering and with very few specks of light (that is, brief relief through laughter - it does come through the character Kichijiro, more on him in a moment), and it's practically an anomaly to be released by a major studio with such a budget and big stars. This is a story that comes from history you rarely ever get to see anymore - history from a country like Japan that doesn't involve samurai (at least how we see them) and dealing with Christianity vs Buddhism - and it's directed with a level of vision, I mean in the true, eye-and-heart opening sense that declares that this man still has a lot to say, maybe more than ever, in his latter years.

Silence is, now pondering it hours after seeing it, possibly the best "faith-based" film ever made (or at least since Last Temptation of Christ); in its unintentional way, a great antidote to those pieces of garbage like God's Not Dead and War Room which preach only to a select few and insult the intelligence of everyone else. In this story of Jesuit priests who go on a journey to find a priest who may be long gone but could be found and brought home, it's meant for adults who can and should make up their own minds on religion and God, and the persecution part of it isn't some ploy from the filmmakers for fraudulent attention. This is about exploring what it means if you have faith, or how to question others who do, and what happens when people clash based on how people see the sun. Literally, I'm serious.

It's also heavier than most other films by this director, which is good but also tough to take on a first viewing. And yet it feels always like a Scorsese film, not only due to the rigorous craft on display (I could feel the storyboards simmering off on to the screen, I mean that as a compliment, this is staggeringly shot by Rodrigo Prieto, I'm glad Scorsese's found another guy), or the performances from the main actors (Garfield is easily giving his all, and not in any cheesy way, Driver's solid, Neeson seems to be paying some sort of penance for some mediocre action fare), but because of a key character: Kichijiro.

He's someone who really fits in to the Scorsese canon of characters who are so tough to take - he makes things difficult for Rodrigues, to say the least, and yet keeps coming back like some sad pathetic dog who can't make up his mind - but, ultimately, the toughest thing of all for this Father, as it must be for this filmmaker, is 'I know he is weak and irrational and probably bad in some way... but he must be loved as all of other God's children.' So as far as unsung performances for 2016 go, Yôsuke Kubozuka follows in a tradition set out by none other than De Niro (think of him in Mean Streets and Raging Bull, it's like that only not quite so angry).

I may need another viewing to fully grasp it. But for now, yes, see it, of course. For all its length and vigorous explorations and depictions of suffering (occasionally highly graphic), not to mention the, for Scorsese, highly unusual approach of a lack of traditional (or any) music or score, it's unlike anything you'll see in cinema this year, maybe the decade, for pairing the struggle of a man to reconcile his God and his responsibility to others in a repressive regime with the visual splendor of something from another time - maybe Kurosawa if he'd had a collaboration with Bergman. And yet for all of this high praise, there's also a feeling of being exhausted by the end of it. Whether that exhaustion extends to other viewings I'm not sure yet. As a life-long "fan" of this director, I was impressed if not blown away.

Author: Olwado

Wow, I would be lying if I said that I wasn't silenced after watching this film. Really interesting subject matter. I am curious about the book now. When I first heard about the film I thought it looked like a modern "Andrei Rublev" set in Japan. Well, I was wrong about that. This film is very much its own beast. These are my first impressions right after seeing it.

I didn't know much about the history of the Jesuit priests who traveled all the way to Japan. I did know that some Japanese converted to Christianity, but I didn't know there were that many. So, I was very surprised by that. It does explain a lot though. I understand more of the reasons why a civil war started in Japan that would ultimately lead to any foreigner being banned from the country. It's actually very interesting how the Japanese Christians almost feel more faithful than a lot of the European characters.

This film explores both the beauty and the horrors of humans and their faiths. There are many beautiful calm scenes where you can relax and admire the stunning sets and locations. Then there are many scenes that will make you nervous, emotional and horrified because of the cruel punishments that some people must endure.

Religion is an interesting subject matter and everyone has their own different view and opinion on it. I still haven't finished processing this film yet, but I'll tell you this; it's something that will stay on your mind for a while. It makes you think about a lot of things. Like what's right and wrong about the different views brought up in the film? And how would things have been different if everyone would have accepted each others beliefs? And even if they didn't believe in the same thing, could they all still live in peace?

It's not an action packed adventure, but more of a spiritual journey with exploration about morals, history and so much more. I thought it was wonderful, but do see it if you can and judge for yourself.

Author: Conjukus

There's a reasonable argument to say that SILENCE is one of Martin Scorsese's better movies. The talk is that it was a passion project of his for decades, finally being released in all it's artistic endeavors and mysteries. I suppose someone else could argue the opposite: that this is a story full of brutality and despair without the signature style of the aged director. I think I'm falling right on the middle on this one. This is surely one of the year's most powerful stories, and yet I have to admit it left me cold.

The story follows two priests from Portugal (Andrew Garfield and Adam Driver) who venture into hostile Japanese country in search of their mentor, Father Ferreira (Liam Neeson), who has abandoned his Christian faith. Some chalk it up to mere rumors. These two young ministers take the journey to find out for themselves.

What begins as a fairly traditional story ventures into the heart of Japan in the 16th Century with a sharp attention to both detail and horror. This is less a story of a search for one man as it is an odyssey into the despair found in conflicting religious beliefs. Father Rodrigues (Andrew Garfield) holds hope that Ferreira is alive while also working to convert as many locals under cover of darkness. Upon landing on the shores of Japan (smuggled in on small fishing boats from China), he encounters villages of faithful Christians who worship in secret. For them, the arrival of Rodrigues and Father Garupe (Driver) is confirmation of their beliefs. Through language barriers, it seems that God is always present.

As we delve further into the country towards Nagasaki (where Ferreira is said to be held), the two priest break off on separate journeys. Rodrigues, though oftentimes alone, is shadowed by a Japanese recluse named Kichijiro, a drunk who once betrayed his faith in order to spare his life (he witnessed the execution of his entire family) but returns to the faith time again in order to make Confession and amends with the Lord. Rodrigues continues to absolve him, and yet this is the slow unraveling of an aspect of this story: do the Japanese really comprehend the religion in the same way Westerners do?

There are three people who make this movie better than average: Andrew Garfield surely gives one of the year's best performances as a man trapped in his own personal Hell, forced to grapple between martyrdom and eternal damnation. It's a strong year for Garfield, getting accolades and Oscar buzz for his other leading role in 'Hacksaw Ridge.' Trust me, this is the better performance. Second is the skill of Martin Scorsese, who slowly paints a portrait of a time long forgot with such attention to tone. It's a horrifying and at times morbid story to sit through, but there was never a moment I found myself any less than fully-focused and contemplative.

Third is a surprise, a breakthrough performance by a Japanese actor named Issey Ogata who gives without a doubt one of the year's most memorable performances. Throughout the film the Christians living in Japan are routinely inspected by samurai officials who intend to hunt down and capture any found citizens in violation of the law. One such official is Inoue Masashige (Ogata) who treats the job with a certain flair. Constantly waving a fan and with an ear to ear smile, this is a performance that steps above the rest of the cast by perfectly encapsulating the braggadocious nature of Japanese law without missing a beat. It's a winking devil performance that I hope the Oscars won't look over.

'Silence' is at times hard to palpate and yet rewards the audience for it's patience. Whether or not this film can be interpreted as being pro or anti-Catholic is maybe not the ultimate message of this film. While the final act delves into a horrifyingly-dark arena, consider the final shot before the credits begin to role (I won't spoil it). In such a brutal era with antiquated customs, isn't there still hope left to be found?

Author: Jarortr

20 years in the making (apparently) and yet the most stark silence was that of the audience after the movie who clearly and with understandable deference to the Scorsese canon, were unwilling to immediately call this movie out for the self-indulgent disaster it actually is and could find few words to compensate for the searing boredom most had undoubtedly endured. Perhaps it's art masquerading as entertainment but, for me, it fails as either. The story was sparse, the characters undeveloped, the cinematography sometimes lush and promising and often the best thing about the movie. The message? There was little here that gave me anything to chew on. Faith is a tough gig at any time but particularly on a clandestine crusade in 17th century Japan? Sure. When life is almost unbearably awful the promise of paradise in the afterlife is alluring? Uh-huh. Belief is riddled with ambiguity, uncertainty, fear and doubt. Yep, I get it. If we were meant to sympathise or even empathise with a mission to convert the peasant classes in isolated and xenophobic Japan then I failed, badly. When God spoke in the silence I got confused, more worryingly so did the Jesuit priest. What was the question Scorsese was struggling so obviously to answer? I don't know but as Bukowski once said "for those who believe in God most of the big questions are answered" and for those who don't? Well they have an opportunity to be their own God.

Author: Slowly writer

To this day, Martin Scorsese remains my all-time favourite director, a man whose approach to cinema completely differs to others in Hollywood, his appreciation towards cinema as an art form is his finest quality in what makes him arguably the greatest film director around. With 'Silence' promoted as Scorsese's 20-year passion project, it was a film I couldn't resist seeing, the legend back behind the camera focusing on a subject not fully studied in cinema, a subject that's mostly misunderstood.

I want to start with my conclusion and go from there. 'Silence' won't be everybody's film, the same way other ambitious films like 'The Revenant' or 'The Tree of Life' weren't, however despite my respect to Scorsese's mastery and level of detail, in my own honest opinion I believe this film fell short due to the lack of insight into it's main theme and thus instead transformed into a slow and somewhat dreary tale that arguably didn't need it's near 3-hour running time to tell its tale.

Now don't get me wrong, in regards to the film's craft it is a masterpiece, the cinematography is raw and epic, the direction from Scorsese is phenomenal and the set design is gorgeous. Accompanying this are a series of fine performances, most notably from Andrew Garfield who should receive monumental praise for his role, I haven't seen such a visceral performance in years, the raw emotion is uncanny. But unfortunately the technicalities and craft can't cover up the flaws that lie in the running time and the tediously slow plot that didn't want to end.

If there's anything I can leave you with from this review to help you decide as to whether it's a worthy watch or not, let me just say this: 'Silence' isn't a piece of entertainment, it's instead an experience; and whilst a technically masterful one at that, many audience members may find themselves slowly drifting off to sleep - as my neighbour in the cinema did. It isn't really a case of liking it or disliking it, it's more a case of the adventure, and despite my partial disappointment with it, the adventure was more than worthy enough for the viewing. Scorsese is still an exquisite auteur, flaws or not.

Author: Ytli

Christianity came to Western Japan in 1542 by way of Jesuit missionaries from Portugal who brought gunpowder and religion. They were welcomed mostly for the weapons they brought and their religion was allowed to be practiced openly. Christianity was banned, however, after reports circulated of missionary intolerance towards the Shinto and Buddhist religions, and there were rumors of the sale of Japanese into overseas slavery. It wasn't until the late 1630s, however, that a complete ban on Christianity was declared and enforced by the Tokugawa Shogunate and persecutions, torture, and murders were relentlessly pursued.

Based on Shusaku Endo Edo's 1966 historical novel culled from the oral histories of Japanese Catholics, Martin Scorsese's masterful film Silence brings us face to face with the repression faced by the early missionaries. While the film does not condone the subjugation of religious minorities, it examines the advisability of attempting to convert a country's population without a deep understanding of their beliefs and traditions. The film opens in 1635 as two Jesuit priests, Sebastian Rodrigues (Andrew Garfield, "Hacksaw Ridge") and Francesco Garrpe (Adam Driver, "Paterson"), request permission from their superior Father Valignano (Ciaran Hinds, "Bleed for This") to go to Japan to discover the fate of their mentor, Father Cistavio Ferreira (Liam Neeson, "A Monster Calls"), rumored to have renounced his faith and to be living with a Japanese wife.

The missionaries are not unaware of the persecution and murder of thousands of peasants and priests who have converted to Christianity, yet they are anxious to undertake their dangerous mission to support the local Christians and to find out the truth about Father Ferreira. When they arrive in Japan they are greeted by a group of "hidden Christians" known as "kakure kirishitan" who have been compelled to publicly renounce their faith and go into hiding to practice their faith in secret, knowing that anyone can earn 100 pieces of silver for turning in a Christian to the authorities and 300 pieces for surrendering a priest. Here, the two priests hear confessions and give baptisms and say mass in the middle of the night In order to avoid capture.

Working with such past collaborators as Editor Thelma Schoonmaker ("Learning to Drive"), Production Designer Dante Ferretti ("Cinderella"), and Cinematographer Rodrigo Prieto ("The Wolf of Wall Street"), Scorsese does not hold back in showing the graphic nature of the torture that those who are arrested must endure. This includes beheadings, being wrapped in straw and burned alive or thrown into the sea. Some are mounted on a cross and placed in the sea until death comes mercifully after repeated pounding of the waves against them. For some, to die a martyr is a high calling, one which will be rewarded in the afterlife and they accept their fate willingly similar to today's Islamic suicide bombers.

Rodrigues, however, now separated from Garrpe, takes on a Christ-like appearance and begins to see himself as the personification of Jesus. He now must choose between rigidly maintaining his religious beliefs or saving the lives of innocent villagers by surrendering to the audacious Inquisitor (Issey Ogata) by placing his foot on a carved Christian icon known as a fumie, an act tantamount to renouncing his faith. In doing so, Rodrigues thinks about Kichijiro (Yôsuke Kubozuka, "Deadman Inferno"), a convert who continually begs for the Sacrament of Penance after he apostasizes again and again. The issues are further crystallized when Rodrigues confronts the truth about Father Ferreira.

While Silence does not fully achieve the transcendence of a true spiritual epic, Scorsese should be acknowledged for opening up the space for a meaningful inquiry into a subject that has perplexed countless philosophers and students of religions for centuries. Perhaps inadvertently, the film, however, does shine a light on the inadequacy of both secular materialism and fundamentalist religion to satisfy our true spiritual needs and answer the overriding question of the film. This must be answered by each person through their own direct experience. For me, to know God is to embrace the silence, to live in it, and know that it is the "source of all sound."

Author: Helldor

"Silence" is en experience, a trip into the hell some "padres" went through during their attempt to spread the Christian faith in Japan during the 1600's. The film tries to give us a peek into the treatment of the priests once the locals decided to institute a policy that found the practice of forbidden doctrines illegal and punishable. When the movie opens, we go straight to the depiction of some of the ways Japanese tortured some of the Christian followers.

Next, plans are approved to start searching for one missing priest. It's the duty of two young priests to locate him, save him, maybe even do a little Christian work to save and enlighten a few souls. This is where the problem begins: There's something sloppy about the way the quest is introduced, and we have three characters who don't seem to even believe whatever comes of their mouths. One looks doubtful, the other is eager but his his eyes don't project any fire, and one seems to have wandered from another period, setting, and faith, maybe even another picture. He looks militant, irascible, doubtful this will have a positive ending. It seems as if he knows this is all futile--their enterprise and maybe the whole act of watching this film.

When the two young men arrive in Japan, our own torture begins, as we listen to dialog that is both incomprehensible and stilted. Never we get into believing that these people have any commitment to anyone but themselves. I'm not sure if it is the acting, the directing, the endless scenes that appear to go in circles, never revealing or truly pulling all the different layers of a complex theme. The setting is dark, grungy, inhospitable, and very foreign. It is never clear why they decide to start their journey in the middle of the winter, or what appears to be the very foggy season in this island. It becomes annoying.

Bring on the never ending series of psychological, physical, and amazingly, very little exploration of theological questions. In "The Last Temptation of Christ" one is willing to overlook some strange casting choices because the central figure is powerful, and well played by DeFoe, giving us a new perspective of what one of the most famous people in history must have gone through. Here, Rodriguez looks lost, both within the story, and Garfield is never anything but a selfish, whiny, and sick looking man of the cloth. I couldn't help thinking about the other long suffering fictional character of the year, Lee in "Manchester by the Sea". At least, we had a solid portrayal of pain, guilt, and impotence. "Silence" doesn't even give you a hint of any of those emotions.

In addition, the length of the film is unbearable. Much doesn't happen for minutes. We have shots of the surroundings, conversations that highlight the redundancy that weakens the film. It is not as if there was nothing to discuss or explain. It felt like a jackhammer kept going and going, keeping us from engaging, from developing any sort of rhythm and connection to the material. The depiction of the torture and persecution never stopped, getting to the point that the ordeal of the troops captured by the Japanese in a recent World War II film appeared more like a prank by a bully. The torture scenes are not something to avoid because they're too graphic; however it feels like the ones being tortured are the members of the audience because we either have to suffer through the weak dialog which goes nowhere or another way in which the bad guys show their bad qualities, and/or, the Christians keep experiencing hell.

There is a very reliable team behind the production. Sadly, there is also a pervasive realization that nothing really works. Landscapes and close ups are admirable in their clarity but drained of any emotions. The lack of musical score is jarring making the "silence" way too overbearing and boring. Costumes and sets might be accurate but feel empty because the characters are poorly presented, and I was wondering where the editor went because we could have easily removed 1/2 of the film, and we would have gotten the same amount of pertinent information. The only scenes that appeared to really work involve Liam Nesson, an actor whose presence and delivery allows us to have an idea of what really is going on. To make matters even worse, this makes every other performer look even worse.

If anyone wants to see how spirituality can be shown, with and without the explicit reference to a particular faith, through beautiful cinematography and the perfect marriage of sound and visuals, check Mallick's "The New World". For now, some real silence seems more than appropriate.

Author: Vizil

In brief, this movie to ENDURE, not ENJOY.

It is just WAAAAAAAAAAAAAAAAAAAAAAAAAY. TOO. LONG. Three hours of relentless torture, persecution, despair, poverty, brutality, murder, betrayal, and then more of the same, was just too much, and Scorsese really should have made a 60 minute documentary rather than a movie. Yes, there are moments of lightness (two, we counted), and a brief sequence of hope and purposes where one of the padres felt like he was making a difference to the bleak poverty of the lives of Japanese villagers. Other than that, this movie is one inevitable, ghastly, slow slide to apostasy. On occasions, Mr Scorsese, I want my movies to give hope, humour, courage and good things, and your movie gave none of those.

I had high hopes for this: Neeson, Garfield and Scorsese made it an attractive proposition. However, an hour into the movie and I was ready to leave. The plot was muddy and laborious, and Scorsese insisted on showing us short imagistic fragments that led nowhere.

Two last gripes. Firstly, the idea that medieval rural Japanese villagers would be able to speak English (or Portuguese as the narrative language) is ridiculous. Secondly, why oh why did Scorsese make us sit through the credits before the house lights came on? A few more minutes of tedium? Whatever you wanted, it didn't work.

It gets 2/10 for the cinematography and nothing else.

Unless you are a fan of medieval Japanese torture and murder techniques, don't both watching this. Some movies stay with you for days, weeks, months, a lifetime. This one you will want to forget asap and move quickly to something more edifying.

Author: Kelerius

I left half-way through. I didn't storm out, but after 1.25 hours I'd had enough. What I saw was well-done, but I kept asking myself "What was the point of all this?" The film was hugely supportive of missionising, but was the Jesuit missionising in 17C Japan a good thing? The Japanese government had a policy of keeping out all foreigners, including missionaries, but they had good reasons for doing this. As had been seen in the Americas, and was being seen in China, missionaries came hand-in-hand with commercial interests, backed up by the military. It usually didn't end well for the local people, who were usually colonised and often enslaved.

Yes, the methods used by the Japanese government were cruel, but were no crueller than what Christians were doing to each other at the time. The Thirty Years War between Catholics and Protestants was an ongoing bloodbath.

The missionaries were excellent marketers, skilled in the double-whammy approach - first sell 'em Sin, then sell 'em Salvation, the missionaries being the indispensable middle-men. So thousands of Japanese died because they swallowed the missionaries' self-serving mumbo-jumbo.

I had hoped that the film would be more nuanced, exploring the rights and wrongs of missionising. Instead Scorcese chooses to do a propaganda piece - glorifying brave, noble missionaries against the cruel Japanese government.

Not a great film.

Author: Zovaithug

What was Martin Scorsese thinking? Is he trying to set a record for the longest time to bore an audience?

It used to mean something when someone said "it's a Martin Scorsese film". Does this now mean it's long and boring?

How can anyone who invested 2 hrs and 41 min not say this was way to long and could have gotten the message across in a comfortable say.. 1 hour?

Such a waste of talent. No big story here, the summary accounts for the almost 3 gruelling hours of boredom with no real message, although the one I did get made this even more of a time-waster.

How can this be rated so high? Is society that bored and have that much time to waste on non-entertainment?

Save yourself, you've read the summary, you're better off moving onto another movie.

Author: Morlurne

I was expecting an Epic on the level of "Shogun" and got a lecture on the rejection of Christianity in feudal Japan which was shallow and unexplained . The subject matter of Japan in the 1600's as Japan is introduced to Western Culture and Christianity is ripe for an in depth and detailed portrait of the clash between Bushido and Western thought, and is well documented- elsewhere. I was expecting a more detailed study of the resistance to Christianity by Japanese culture of the time to preserve the order of Bushido. Nowhere in the film are the traditional concepts of Bushido and Budhism represented in the film, except for implicitly.

The movie seemed to force the viewer to the conclusion that Christianity was the best thing for Japan without explaining how Christianity was in-congruent with Japanese Culture and Social Structure of the time. I began to wonder, are the beliefs implied by this movie born out empirically? A quick survey of Modern Japan today says no. Despite all the strife of the Christian Missionaries in "Silence", a mere 1% of Japanese are Christian today. Apparently the writers overlooked core Japanese culture in the making of this movie.

A more pertinent theme would take place in the Modern Middle East where massive numbers of Christians are being murdered in the modern world and ignored by the Media.

The case of a few Missionaries in Japan back in the 1600's is intriguing only if we study and compare the influences of Bushido and Christianity to the Social/Political normalities of the time.

The 1980's Mini Series Shogun delivered this and far more drama than you'll ever find in "Silence".

Author: Billy Granson

In the Seventeenth Century, in Portugal, the Portuguese Jesuit priests Sebastião Rodrigues (Andrew Garfield) and Francisco Garupe[ (Adam Driver) ask permission to Father Alessandro Valignano (Ciarán Hinds) to travel to Japan to investigate the rumors that their mentor Father Cristóvão Ferreira (Liam Neeson) had committed apostasy abandoning his Catholic faith after being tortured by the shogunate. They meet the alcoholic fisherman Kichijiro (Yosuke Kubozuka) that agrees to guide them to Japan. When they arrive at a small village, they learn that the Christians residents live hidden in caves since the Inquisitor kills any villager suspect to be Christian. Along the days, Rodrigues and Garupel propagate Catholicism among the villagers and try to find a lead to Ferreira. But when the Inquisitor arrives in the village with his men, the live of the residents and the priests will change.

"Silence" is a film directed by Martin Scorcese that shows how cruel a man can be. Based on historical facts, "Silence" show the powerful Shogunate defending their religion and culture against the European Catholicism that promises easy paradise to the suffered Japanese workers that has to work lot to pay the taxes and survive. The result is a good, but too long and tiresome film. My vote is seven.

Title (Brazil): "Silêncio" ("Silence")

Author: Thetalune

This is among the worst films I have ever seen. Even among those, I can recognize good film making...this is NOT good film making or good basic storytelling. Repetitive, dragged out foreshadowing so that the only people who seemingly don't know what is going to happen next are the people in the film, and plot and character inconsistencies that you could drive a whole religion through.

And it is LONG. 45 minutes would have easily captured this story and done so with more suspense (less dragging foreshadowing) and more horror. By the time each act of torture happens, everyone but the stupidest priest who ever lived knows exactly what is going to happen and it loses its effect. Speed this up, and it might be compelling. Right now, it is like a third grade story...and then...and then...and then...and then...we have to see every moment in time of the whole freaking story.

If this film had any other director, it would never ever ever see the light of day in a theatre. And awards? Really shameful pandering, a mockery of great film making and a great director, who went off the rails with this.

Author: Samuhn

With regards to Martin Scorsese's SILENCE, let me just put it this way, I saw Scorsese's 1988's "The Last Temptation Of Christ," back when I was in college, as you know that film was also an adaptation, and I thought it was pure masterpiece just in terms of its themes because whether or not you'd want to argue that perhaps that some of the approach may have been sacrilegious or religiously inconsiderate, if you will, to me it was about wondering the what if's and whether or not doubt has any footing in order for faith to grow. To a certain extent, SILENCE conveys something similar.

Based on Shusaku Endo's novel, SILENCE is about two Jesuit missionaries who travel to Japan because they have heard that their mentor, Father Ferreira (Liam Neeson) has publicly denounced God. At the time, Christianity was outlawed in Japan, so in their search for their missing mentor, they endure torture, suffering, and the ultimate test of faith.

In a way you could say that SILENCE is Martin Scorsese's way of paying respect to the legendary filmmaker Akira Kurosawa especially for us fans who grew up watching old time Japan's samurai classics, although SILENCE is not action-driven obviously, but the authoritarian rule depicted in this film is definitely something that's culturally based on that particular era.

From technical standpoint, SILENCE is as rich and complex as the story itself, even the violence is done in a graphic yet artistic manner. Because the story is told through Andrew Garfield's Father Rodrigues' perspective, you'll find some of the shots from inside his prison cell, looking out, with the frame being in between the wooden bars, to be quite engrossing. It makes the tension all the more real because your mind just keeps racing, you don't know how much more gruesome it would get. Odd to say this but it sort of becomes a point of anticipation, it's as if every other half-hour or so, you know some Christians are going to get tortured and so you're just bracing for impact. Martin Scorsese's ever-so-reliable high standard quality filmmaking is present through and through, so there's no disappointing you there.

After being religious and full of conviction in "Hacksaw Ridge" as a Seventh-Day Adventist, actor Andrew Garfield becomes religious and full of conviction again, this time in "Silence" and what's interesting is that both films feature Japanese people. All that aside, this is yet another evidence of Garfield's commitment to his work, the same goes for Adam Driver and Liam Neeson who not only went through physical changes, you actually feel a bit concerned for their health, but that conviction is shown in their eyes. It's amazing to see how this former Spider-Man quickly this powerful force. The Japanese actors are equally outstanding, especially Issey Ogata whose performance has his own flamboyant way of being ruthless.

This is Scorsese's long passion project, he had been wanting to do this film for years, but the question remains, and those of you who've watched the film are probably wondering it as well. And my answer is no, I don't think SILENCE means to demonize Buddhism. If this film is Scorsese's way of promoting Christianity, then that is his prerogative. But throughout mankind's history, there had been many cases in many lands where the majority religion, whatever religion that maybe, persecutes the minority religion because they view them as a dangerous threat; a symbol of a potential takeover. Inquisitions have happened everywhere. Which leads me back to what I said earlier about how SILENCE reminds me a lot of "The Last Temptation Of Christ," we see men who are supposed to be like rocks, seemingly falter and start to question their faith, but perhaps questioning your faith is one way of reaffirming it. Liam Neeson's character in this film has a counter argument to Andrew Garfield's Rodrigues and he may make a bit of sense if you see it from his version of truth.

-- Rama's Screen --

Author: Bulace

Two young Jesuit priests travel to 17th-century Japan, where Christianity has been outlawed. The priests wish to verify whether their mentor has apostatized, but end up facing their own crises of faith. Silence is a huge disappointment, mainly because the main premise, a young priest having a theological crisis in the horror of Godless Japan, does not transfer well to screen. It may well be riveting in the original novel, but the interior world of Garfield does not sufficiently become exterior. This despite ample narration from the protagonist himself, and the bizarre introduction in the last 20 minutes or so of an as yet unseen character, a European merchant whose heavy-handed exposition is, I suspect, intended to close the narrative in a way the images and momentum to this point have failed to do. Garfield performs well, Liam Neeson is reduced to a cameo, and Tadanobu Asano is similarly under-used. An implicit critique of Christian missionary in foreign lands is under-developed. What the Japanese made of these interlopers would be worth exploring, but the film shows little interest in the Japanese point of view. For the first time ever, I was bored by a Scorsese film. Silence is dull, and lacks vision.

Author: Whitegrove

I was attracted to this film because of the director's prestige and because it was an adaptation of a well-received book. It has also received many positive reviews.

I don't know why. The film is too long (much too long), too repetitive and too superficial in its treatment of the central issue of religious faith. The acting is uninspired. None of the characters awoke my sympathy. Japanese men speaking good English to Portuguese priests was just weird. Scorcese combines all this with gruesome torture scenes and monsoon weather to reach his full numbing effect. The only redeeming feature was the music: there wasn't any.

Author: Grarana

Every so often the Christian movie makers try and take this subject on and every effort is a failure. Quite simply put, the Japanese wanted their own culture more than they wanted the Western one, and most importantly, they were willing to fight for it tooth and claw. I know I'm suppose to feel great sympathy for the poor priests struggling against the heathens, but I don't and I don't want to. I'm quite happy that Japan has a great culture of its own design and evolution and so all the movie slander promoted by even a great director like Martin Scorsese seems just wasted talent. Oh, there is plenty of "talent" in the film; director, camera, actors, but the script and the of course the "idea" can never succeed. I know that "christian hardship porn" is satisfying for many believers, but unless you are one, you should let this movie go away.

Author: Maridor

I didn't read the book, nor am I an expert in history, so I will not nitpick about any of that. I will only focus on the story, which the movie does too - thankfully.

"Silence" got under my skin. I'm a believer in God, specifically in Jesus Christ, so naturally I was invested because of that alone, but I believe this movie isn't specifically targeted towards me. It's not manipulative nor does it preach to its audience. Quite the opposite, in fact - it put me in a hard place. It puts you in a place where you really have to think about how you deal with your faith and what that faith ultimately is. I also believe anyone can find something about this movie, it doesn't tell you what to believe or what's wrong and right.

"Silence" is a movie about two Jesuit priests who embark on a mission to find their former catholic mentor, who has allegedly renowned his faith in Japan where he was a missionary. They find some Japanese people clinging to Christianity, and those persecuting it. Sounds like a simple, manipulative shock movie? It's not. While it is grim and there are some shocking scenes, this movie gets you in a different way. There is a constant, underlying story about nature of faith in an environment where that faith isn't welcome, and it's pushed to its limits.

I don't recall seeing a movie where a man struggles to keep his faith that moved me this much. It's not about some pretentious, meaningless problems: it's about harrowing situations, forces and things beyond one's control - and also about the inner struggle between pride, despair and doubt. It's inescapable. This movie is uncompromisingly brutal in what it wants you to ask yourself, and it doesn't let you off easy. I saw myself in many of the characters, and it was always about their weaknesses and shortcomings. I don't want to look at those dark parts of my soul, but sometimes I have to, and this movie pushed me there.

Every part of the movie has a purpose and it always seems to have something to say. The journey might be long at times, and uncomfortable at others, but the journey is just as important as the destination. In the end we get a glimpse of something. For some it can be defeat, for some it can be hope. Perhaps it's about what the nature of faith really is, when it's stripped out of everything else but its own essence, and that's something I find myself thinking about as I'm writing this review. I find the the ending beautiful in its own way.

Everyone is great in "Silence". Garfield, Neeson and Driver are very good, and they all bring in that "something" they possess. Their performances are without ego. I didn't see famous people acting, I just saw people. But the Japanese cast must be applauded. All of them. Every single one of them, even those with only 10 seconds of screen time, nail their parts. This is not some cynical Hollywood diversity meeting, no, these are real actors doing a real damn good job. I don't want to single anyone out, but Oida, Tsukamoto, Kubozuka, Ogata and Azano were very good. But once again, even the "villager" and "wife" actors/actresses were amazing and their parts should not be forgotten.

Cinematography is great, if you don't count just a few shots that weren't as good as everything else. It's not just about breathtaking scenery - although you get that as well - but the cinematic language is present in the visuals. Same with the music, it works in favor of the film. You almost never hear it, but when you do it's mostly just harrowing noise. It's still not meaningless noise without effort or meaning, because it finds a way to communicate something that visuals alone will not.

Scorsese wanted to get this movie made for a long time. Now he did it. It's easy to see why the man who directed "The Last Temptation of Christ" would be interested in this story. It's clearly personal to him, but it's personal to me too. It's a sign of a truly powerful movie to feel a little broken after seeing it, only to find out it's slowly putting you back together again the more you think about it.

"Silence" is like any passion project of an artist, it's not going to be loved (or even seen) by an enormous amount of people. It's also slow, probably offensive to different people for myriad of reasons, it's about religion and faith. But it's also about hope and that little mysterious and persistent spark inside us. It's not "them" who can kill the spark, it's always us. And even if we feel like we killed that spark and all is lost, perhaps we can take a lesson from Kichijiro...and try again.

Author: Fearlessdweller

You endure a lot of torturous scenes hoping for a good, at least logical conclusion... but no, the one who is supposed to be the hero quits. Padre Rodrigues not only completely undermines the sacrifices made by his and God's followers, but he commits heresy and leads many, many souls astray by caving in and writing against his own Faith. Liam Neeson's performance is pitiful. I suppose that's a testament to how this usually good actor battled with his own conscience and could not act his way out of it. Andrew Garfield is a big let-down in the second part of the movie. Again, all that build up for not only being a quitter, but a traitor in the worst way you can be. THIS MOVIE IS A FRUSTRATING WASTE OF TIME AND MONEY, at the theater or at home.

Author: Mettiarrb

Literally fuming at wasting three hours of my life, not to mention the money for a ticket, on something that is CLEARLY a Christian Propaganda film.

You can all read the plot elsewhere. Instead of this being a "rescue" film, it is a racist tirade against the Japanese's ill-tolerance to the invading Christian missionaries, who when are denounced suddenly become the "persecuted".

I was so close to walking out three or four times at the sheer blatantness of the arrogance and complete offensiveness of the plot (and some dialogue). This is a fictional story, but I would fully believe that this could have happened. Not to mention the very obvious ending. *eyeroll*

Seriously have lost much respect of Andrew Garfield for agreeing to do this.

This film is basically encouragement to those who think that they have a right to force their personal faith onto others at any cost. AVOID!!!.... and if you must see it, find a free ticket or just download it.

Horrific.

Author: Jaiarton

After receiving a worrying letter from their mentor Ferreira (Liam Neeson) from Japan, Portuguese priests Rodrigues (Andrew Garfield) and Garrpe (Adam Driver) embark on a journey to reach Japan in order to find their beloved colleague and help the Christians against the religious oppression perpetuating during the 1600s by the hand of the Japanese Buddhists.

I think that the best way to explain my thoughts on this film are to start by explaining my history with legendary director Martin Scorsese. Whilst I think that "The Departed" is a top-notch film and find "Hugo" to be a really well told tale, I have rarely had the pleasure to enjoy his films. That's just how it is. From the 1970s right down to his latest efforts I have always had a really hard time with Scorsese and I have grown to actively dislike some of his films, whilst still finding something to mine and appreciate in them.

I find that there is a common thread with what I come to dislike in his pictures. Firstly, I have always had a hard time in keeping up with his third acts, from "Cape Fear" to "Goodfellas" I have always carried myself through to the ending forcefully and have rarely appreciated his climaxes. I have always felt them as meandering and over long, not really getting to a point. Which brings me to my biggest problem, with the exceptions listed above, I have never left a Scorsese feature with something to take with me, I've never had a payoff, his films have generally left me cold and empty, his thematic explorations have often frustrated me and given me not much to appreciate.

I once felt like this must be a coincidence, but the pattern has repeated itself too many times for it to be considered so, "Silence" being no the confirmation and actually embodying the worst about my criticisms. This is a religious slog-fest that made me angry in its self importance and complete nonsensical length.

Now, I don't want to appear like I'm a jerk, whilst everything I said above is true I can't help but have anything but respect for Scorsese, he is a giant of cinema, his achievements are overwhelming, it just so happens that he really has a hard time in matching my taste and whilst he managed to get really on my nerves here, in particular, because of some of the thematic messages, I still find in all of his pictures a lot to appreciate.

For one, "Silence" has a great first half, the drama with the characters is alive and touching, the portrayal of 17th century Japan is raw and unnerving, the atmosphere that is captured is genuinely unsettling. The point of view that is established in this first half is not a religiously inflated one, what is moving about it is how we witness the hatred that man can be brought to and the contrast with the innocence in the Japanese farmers is ever so captivating.

Driver and Garfield really fuel the drama with some remarkably intense performance work that manages to not call attention to itself. Their journey is unpredictable and the recreation of the chaos and the poverty of the time really hits home. The cultural differences are explored on a visual level other than a thematic one and it makes for some really good viewing, I will fully admit that up to the hour and forty five mark I was following the drama attentively.

On a technical level the film does have some fantastic production design, but for the rest there is something that really stands out as being remarkable, probably a reason for which the last hour becomes so overbearingly boring.

Then comes the last hour, which shatters to pieces everything achieved before, changing perspective and escalating in melodramatic, masturbatory, religious bullsh*t with an ending that proves its aimlessness and disgusting self-importance. The drama just turns off, it evolves in a discussion that has no heads nor tails, to the point that I felt like it was contradicting itself at times. The ending is abysmal, ridiculous and trivial in a way that made me stand up and leave the cinema angrily without even waiting for the first credits which I always do.

If I am listening to a full hour of religious debate which combines ethical and moral complexities to it and I am left utterly bored and empty there is something that is worryingly wrong about the film for me. I was lost for words, every word that was uttered was a further step down for the film, a real disgrace because for a good portion it was going for something an succeeding at it, then came the rest of the feature and made me sick with boredom and anger.

Author: snowball

Christianity was first introduced into Japan in the 16th century by European missionaries, who at first enjoyed considerable success in winning converts to their faith. After 1620, however, the Tokugawa Shogunate issued an edict forbidding Christianity, following which the Japanese authorities initiated a ruthless campaign of persecution against the new religion. Foreign missionaries were banned from entering the country, and Japanese converts were forced to renounce their faith upon pain of torture or execution if they refused. The only outsiders allowed to enter Japan were Dutch traders, and they were only tolerated on the strict understanding that they did not attempt to proselytise; Protestantism was no more welcome to the Shogun than was Catholicism.

These events formed the subject-matter of the 1966 novel "Silence" by the Japanese writer Shūsaku Endō. Ever since the early nineties Martin Scorsese has had the ambition of turning Endō's novel into a film, and this is the result. In the 1640s two Portuguese Jesuits, Sebastião Rodrigues and Francisco Garupe, secretly enter Japan on a mission to the country's underground Catholics. They are also hoping to learn the fate of their missing mentor Father Cristóvão Ferreira who is rumoured to have committed apostasy under torture. The two men, however, are betrayed by their Japanese guide and arrested.

I note that the film has been criticised on this board by some reviewers who accuse Scorsese of justifying European colonialism and of "demonising" non-Christian religions. Such criticisms, however, strike me as misguided, given that Scorsese's source novel was written by a Japanese novelist, not by a Westerner, and that the persecutions described by Endō are a matter of historical fact, not Christian propaganda. Now it is perfectly true that the Japanese may have had good reasons for being unwilling to import Christianity into their country; this was, after all, the period when the savage sectarian conflict known as the Thirty Years War was raging in Europe. 17th-century Catholics may have seen the persecution of their Japanese co-religionists as a great evil, but at this time their Holy Inquisition was persecuting Protestants with equal zeal and equal cruelty. (The Dutch, who had bitter memories of Spanish rule, made sure that the Japanese were kept informed of these events). Endō's theme, however, was not the iniquities of 17th-century Christianity, so I think that Scorsese was right not to deal with these matters directly. (He does, perhaps, hint at them by referring to Inoue, the Japanese official charged with rooting out Christianity, as "The Inquisitor").

Endō, in fact, was more concerned with the motivation of the two Jesuits, especially Rodrigues, than he was with the political justification for the persecution. Like the great American-born Anglo-Catholic writer T S Eliot in "Murder in the Cathedral" he was interested in the psychology and theology of martyrdom. Many Christians would insist that a martyr dies the most glorious of all Christians, but Eliot recognised that there can be bad reasons for seeking martyrdom- vanity, stubbornness, spiritual pride and the desire to be foremost in the Kingdom of Heaven. Rodrigues comes to a similar realisation in the course of this drama. If he sacrifices his own life to satisfy his desire for glory, this will only increase the suffering of his Japanese flock, while if he follows Ferreira into apostasy their sufferings may be mitigated. (Endō's title refers to Rodrigues' perception that God is remaining silent while his faithful servants are persecuted).

Scorsese's original choice for Rodrigues was Daniel Day-Lewis, who I am sure would have been excellent; he has been excellent in just about every film I have seen him in. By 2016, however, the director clearly considered that Day-Lewis was too old to play the relatively youthful Rodrigues, so cast a much younger actor, Andrew Garfield. This was the first time that I had seen Garfield in a film, and I must say that he was excellent in every way as the tortured Rodrigues, a man facing an unenviable dilemma; he can only save his friends from further suffering if he denies everything which has hitherto given his life meaning.

Two other key roles are played by Liam Neeson as Ferreira and Yōsuke Kubozuka as Kichijiro. Like the Fourth Tempter to Becket in "Murder in the Cathedral", Ferreira offers Rodrigues the temptation to "do the right thing for the wrong reason". He claims to admire the Japanese, but attempts to justify his own apostasy in terms which reveal his secret contempt for them. For him Japan is a "swamp" and its inhabitants are ignorant, backward people incapable of understanding true Christianity (by which he means European Christianity). He wrongs the Japanese martyrs, claiming that they died not for the true faith but for some distorted, dimly understood, perversion of it, possibly because he is ashamed that these humble people proved themselves more faithful Christians then he did.

Kichijiro, a drunken, cowardly fisherman and a nominal Christian, is the guide who betrays Rodrigues and Garupe. Although this is far from being his only act of betrayal, he finds himself unable to abandon Christianity altogether. When we last see him he is being arrested for possession of a Christian amulet, protesting unconvincingly that he won it at gambling without realising its true nature.

Scorsese's visual style, in keeping with the overall mood of the film, is dark and sombre. The film has been criticised on account of its length (160 minutes) but I felt that a longer running-time was needed here to allow its ambitious themes to be dealt with fully. This is an epic movie- not an action-drive epic like, say, "Ben-Hur", but an epic of faith and ideas. It is also a masterpiece, one of Scorsese's greatest works, ranking alongside the likes of "Taxi Driver", "King of Comedy", "The Aviator" and "Shutter Island". 10/10

Cast overview, first billed only:
	Andrew Garfield	-	Rodrigues
	Adam Driver	-	Garupe
	Liam Neeson	-	Ferreira
	Tadanobu Asano	-	Interpreter
	Ciarán Hinds	-	Father Valignano
	Issei Ogata	-	Old Samurai / Inoue (as Issey Ogata)
	Shin'ya Tsukamoto	-	Mokichi
	Yoshi Oida	-	Ichizo
	Yôsuke Kubozuka	-	Kichijiro (as Yosuke Kubozuka)
	Kaoru Endô	-	Unzen Samurai (Uneme)
	Diego Calderón	-	Prisoner Augustinian Friar #2 (as Diego Calderon)
	Rafael Kading	-	Prisoner Augustinian Friar #1
	Matthew Blake	-	Prisoner Franciscan Friar
	Benoit Masse	-	Prisoner Augustinian Friar #3
	Tetsuya Igawa	-	Prisoner Japanese Jesuit

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