Silence (2016 film)

Based on the novel by Shusaku Endo, Silence is the story of two Jesuit priests who travel from Macau to Japan to find their mentor who had renounced his faith in his attempt to spread Christianity in 17th Century Japan. Directed by Martin Scorsese and screenplay by Scorsese and Jay Cocks, the film is the third film in an unofficial trilogy of films exploring the ideas of faith that Scorsese had done with The Last Temptation of Christ and Kundun where two young men travel to a world that is isolated from everyone as it showcases two men trying to hold on to their ideals at a time when anything foreign in Japan is forbidden. Starring Andrew Garfield, Adam Driver, Tadanobu Asano, Ciaran Hinds, and Liam Neeson. Silence is a ravishing yet haunting film from Martin Scorsese.

Set during a period in Japan where Christianity is forbidden in the country due to the belief that it would corrupt its ideals, the film revolves around two Jesuit priests from St. Paul’s College in Macau who travel to the isolated country where their mentor had been in the country in an attempt to spread the ideas of Christianity to the Japanese. Yet, they would arrive into a country where the practice of Christianity is kept in secret as it would lead to this revelation about what Japan is trying to do to suppress ideas outside of Japan forcing these two young priests to face major challenges. The film’s screenplay by Martin Scorsese and Jay Cocks opens with images of torture towards not just these Jesuits priests but also followers where Father Cristovao Ferreira (Liam Neeson) watches in despair as he is unable to do anything to help those being tortured. It would lead to this main narrative where Father Ferreira’s pupils in Father Sebastiao Rodrigues (Andrew Garfield) and Father Francisco Garupe (Adam Driver) travel to Japan to find their mentor and confirm these rumors that he had committed apostasy.

The film’s first act is about Rodrigues and Garupe learning about their mentor in Japan and their desire to find him knowing that Japan is not easy to enter as they’re aided by a troubled alcoholic guide in Kichijiro (Yosuke Kubozuka) who was a former Christian as he is also trying to seek some salvation. There, they would meet several villagers who practice Christianity in complete secrecy as some would be caught by samurai working for a mysterious inquisitor. The second act has Rodrigues and Garupe take on different paths to help Japanese Christians as much of the film’s narrative is told through the perspective of the former who would endure immense challenges of faith. Throughout the course of the film, Rodrigues would ponder these ideas of faith as well as why there’s a number of high officials of the Japanese consulate that are resistant to Christianity as there are a lot of fallacies to the idea of Christianity. Even as Rodrigues would have to see followers be tortured to death as some would apostatize but others would refuse leading to their own death.

The character of Kichijiro is someone who would continuously stay alive knowing he’s caused trouble as he constantly goes to Rodrigues to confess as it would play into some of the things Rodrigues would see. He would try to appeal to a revered governor in Inoue Masashige (Issey Ogata) who is a unique individual that has this slimy persona as a man that mocks the idea of Christianity yet is also willing to listen to what Rodrigues has to say. The film’s third act is about what has happened to Ferreira and the challenge that Rodrigues faces. Especially as Rodrigues is forced to face his own faults in his devotion as well as what his followers were willing to do to maintain the idea of Christianity.

Scorsese’s direction is definitely rapturous for capturing a moment in time that was intense as far as how Japan was willing to protect itself from outside forces and isolating itself from the rest of the world. Shot mainly in Taiwan, the film has Scorsese going into a world that is mainly set in forests and villages to play into something that is exotic and removed from what is happening in Europe. There are a lot of wide shots of the various locations and settings in the film including some unique high and low camera angles to play into the idea that God is watching yet he remains silent in his action. Scorsese’s usage of medium shots and close-ups play into the struggles that Rodrigues and Garupe would face in the film’s first act as well as the sense of doubt that loom in the latter as he endures some frustration over the living situation in Japan as he and Rodrigues have to hide. The film’s second act has Scorsese take on some imagery that play into the idea of God’s existence such as this shot of Rodrigues drinking water and sees a picture of Jesus Christ in front of his reflection as it’s modeled by this portrait by El Greco.

It’s a moment that play into Rodrigues’ determination to help many as well as continue this mission to spread the Christian faith in Japan but it’s also a moment that forces him to see what this Japanese council will do to prevent that from happening. Even as there’s these intense moments of violence that Rodrigues would have to witness as Scorsese doesn’t shy away from the brutality of the tortures and such that is happening to these Japanese Christians. The film’s third act that relates to the reveal of what happened to Ferreira as Scorsese would showcase not just this sense of humility that Rodrigues has to endure but also the harsh reality over what he had to do for the survival of those who count on him. The film’s ending is over-drawn as it is told from the perspective of an outsider who watches Rodrigues in the choice he makes as it shows what he would do for the remainder of his life. It does play into the role he has to play for Japan at a time where few outsiders are allowed into the country while contemplating into why he and so many others had suffered for their beliefs. Overall, Scorsese creates a riveting yet evocative film about two Jesuit priests traveling to Japan where Christianity is forbidden as they deal with God’s silence.

Cinematographer Rodrigo Prieto does brilliant work with the film’s cinematography for the usage of low-key lights and filters for some of the exterior scenes at night to the more naturalistic look for some of the scenes in the daytime as well as the usage of fire for some of the interior scenes at night. Editor Thelma Schoonmaker does amazing work with the film’s editing with its stylish usage of jump-cuts, dissolves, and slow-motion to play into the drama as well as some of the things that Rodrigues would see. Production/costume designer Dante Ferretti, with set decorator Francesca Lo Schiavo and supervising art director Wen-Ying Huang, does excellent work with the look of the houses and places in the villages and small towns in Japan as well as the interiors at the church in Portugal along with the look of the robes that many of the characters wear.

Special effects supervisor R. Bruce Steinheimer, with visual effects supervisors Pablo Helman and Jason H. Snell, does fantastic work with a few of the visual effects such as the image of Jesus Christ that Rodrigues would see in a watery reflection as well as a few pieces of set-dressing for some of the location. Sound editor Philip Stockton does superb work with the sound as it play into the natural atmosphere of the location as well as this idea of silence in an otherworldly environment that is enchanting to hear. The film’s music by Kim Allen Kluge and Kathryn Kluge is terrific for its low-key approach to ambient music mixed in with traditional Japanese music while music supervisors Randall Poster and John Schaefer would create a soundtrack that feature a lot of the traditional Japanese music of the times.

The casting by Ellen Lewis is wonderful as it feature some notable small roles from Ryo Kase and Nana Komatsu as a couple of Japanese Christians whom Rodrigues tries to help, Bela Baptiste as the Dutch trader late in the film, and Ciaran Hinds as Alessandro Valignano as a Jesuit leader who is expressing concern over Ferreira as he wonders what has happened in Japan. Issey Ogata is superb as Inoue Masashige as this grand councilor that has this unique presence whenever he appears while he is also kind of slimy in the way he says things as he represents someone that is willing to challenge Rodrigues’ views. Yosuke Kubozuka is fantastic as Kichijiro as an alcoholic Christian who guides Rodrigues and Garupe to Japan as he is also someone full of pity into the things he’s done. Shinya Tsukamoto is excellent as Mokichi as a village leader who is also a Christian that does whatever he can to hide Rodrigues and Garupe where he would endure punishment that is just brutal to watch.

Tadanobu Asano is brilliant as the interpreter to Masashige as a man that is fascinated by Rodrigues’ views yet he remains devoted to Japan’s need to maintain its identity as he is a complex individual that is trying to make sense of the situations that Rodrigues is in. Adam Driver is amazing as Francisco Garupe as a young Jesuit priest who copes with the harsh environment of Japan as well as the frustration of not doing anything where he and Rodrigues would separate to find Ferreira as well as spread Christianity to Japan. Liam Neeson is remarkable as Cristovao Ferreira as Garupe and Rodrigues’ mentor who traveled to Japan to spread Christianity to the country only to disappeared in the belief that he had renounced his faith where he appears briefly for much of the first act and again in the third. Finally, there’s Andrew Garfield in an incredible performance as Sebastiao Rodrigues as a young Jesuit priest that is determined to find his mentor and carry on in the mission to spread the word of Christianity in a country that is resistant to the idea where he is forced to see what happens to Christians in Japan as well as wonder why God hasn’t done anything to help them or say something.

Silence is a phenomenal film from Martin Scorsese. Featuring a great cast, gorgeous images, top-notch editing, and compelling themes on faith and some of its fallacies. It’s a film that explores a moment in time where men’s ideals are being challenged by resistance as well as ponder the existence of God. In the end, Silence is a sensational film from Martin Scorsese.

Martin Scorsese Films: (Who’s That Knocking on My Door?) – (Street Scenes) – Boxcar Bertha – (Mean Streets) – Italianamerican – Alice Doesn't Live Here Anymore - Taxi Driver - New York, New York – American Boy: A Profile of Steven Prince - (The Last Waltz) – Raging Bull - The King of Comedy - After Hours - The Color of Money - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas – Cape Fear (1991 film) - The Age of Innocence (1993 film) - (A Personal Journey with Martin Scorsese Through American Movies) – (Casino) – (Kundun) – (My Voyage to Italy) – Bringing Out the Dead - (The Blues-Feel Like Going Home) – Gangs of New York - (The Aviator) – No Direction Home – The Departed - Shine a Light - Shutter Island - (A Letter to Elia) – (Public Speaking) - George Harrison: Living in the Material World - Hugo - The Wolf of Wall Street - (The Fifty Year Argument) – (The Irishman (2018 film))

© thevoid99 2018

2016 Blind Spot Series: Yi Yi

Written and directed by Edward Yang, Yi Yi: A One and a Two is the story of a year in the life of a middle-class family in Taipei, Taiwan where an engineer copes with a lot of things including the re-emergence of an old flame while his children both deal with growing pains. The film is a tale of a family’s life through three generations where a lot happens in the span of an entire year. Starring Nianzhen Wu, Elaine Jin, Kelly Lee, Jonathan Chang, and Issey Ogata. Yi Yi: A One and a Two is a dazzling and touching film from Edward Yang.

Set in the course of a year in Taipei, the film is about the life of a family where an engineer struggles with his job while dealing with all sorts of things in his family including his comatose mother and a wife who is being treated for depression. At the same time, an old flame returns to his life while his 8-year old son and 13-year old daughter both go into growing pains. It’s a film that goes through a lot where it begins with a wedding and ends with a funeral as it play into the many trials and tribulations of this family led by its patriarch in NJ (Nianzhen Wu). NJ is a man that tries to live honestly as he can not just at home but also at work where he is aware of the financial problems of his company as he wants to do things right.

Edward Yang’s screenplay is multi-layered in not just following NJ’s life but also his teenager daughter Ting-Ting (Kelly Lee) and eight year old son Yang-Yang (Jonathan Chang) who both go into their own adventures. Even NJ’s brother-in-law A-Di (Xisheng Chen) who gets married in the beginning of the film would have an arc as he deals with not just marriage but also an old flame and money troubles. All of which play into this family that isn’t just coping with changes but growing pains where NJ would go through a journey of his own while his wife Min-Min (Elaine Jin) would be away for treatment. Ting-Ting’s journey relates to being a go-between for her friend and her boyfriend where she finds herself falling in love for the latter while Yang-Yang becomes a troublemaker in school where he would discover a love for photography.

Yang’s direction is definitely understated as well as maintaining something that is quite very simple. Shot largely on location in Taipei with some shots set in Tokyo and towns near the city, Yang creates a film that is like a family portrait told in the span of a year. The first sequence is this wedding for A-Di and his bride Xiao Yin (Shushen Xiao) as it is quite lavish and lively where a lot happens during the reception. Even as it would introduce a lot of the characters in the film including NJ’s old girlfriend Sherry (Suyun Ke) who is at the hotel by pure coincidence as they hadn’t seen each other in 30 years. Much of the direction doesn’t include a lot of close-ups but rather a lot of medium and wide shots since there’s a lot of people that NJ and many of the characters would encounter including this Japanese software mogul named Ota (Issey Ogata) that NJ would have a personal connection with.

The direction also has Yang create scenes that parallel the journeys of characters such as NJ in Japan with Sherry where they look at the sites and then be inter-cut with Ting-Ting on a date with Fatty (Yupang Chang). It’s a sequence in the film’s second half that showcases the similarities between father and daughter while there are also moments that display an innocence as it relates to Yang-Yang. Yang would just let things play out naturally where it also showcases a family just trying to adjust as they’re also taking care of NJ’s comatose grandmother. Much of the drama is quite restrained as well as some of its intense moments while Yang would also inject some humor into the film where it all plays into how families deal with one another. Overall, Yang creates an intoxicating yet heartfelt film about the life of a family in the span of a year.

Cinematographers Weihan Yang and Longyu Li do brilliant work with the film‘s cinematography as it has this sense of natural yet evocative look for many of the scenes set in the daytime as well as in some of the interiors while many of the scenes at night have a stylish flair in its look while maintaining something that feels real. Editor Bowen Chen does nice work with the editing as it is mostly straightforward with some stylish cuts such as the sequence that parallel NJ and Ting-Ting‘s own outings as well as a few jump-cuts. Sound designer Duzhi Du does excellent work with the sound to capture the energy of the scenes at the wedding reception along with some of the moments that occur around the city. Production designer/music composer Kaili Peng, with art director Zhengkai Wang, does fantastic work with not just the look of the home of NJ but also the look of the reception and the Japanese restaurant that NJ eats with Ota. Peng’s score is amazing as it’s just mainly a somber piano with elements of blues-based guitars as it says a lot to film’s understated tone.

The film’s incredible cast include some notable small roles from Ruyun Tang as NJ’s comatose mother whom Ting-Ting is fond of, Adrian Lin as Ting-Ting’s friend/neighbor Lili, Michael Tao as NJ’s co-worker/friend Da-Da, Shuyuan Xu as Lili’s mother who would cause some serious trouble for her family, Yupang Chang as Lili’s boyfriend Fatty who would fall for Ting-Ting but also has feelings for Lili, Shushen Xiao as A-Di’s bride Xiao Yan who has a hard time being married to A-Di as well as being pregnant, and Xinyi Zeng as A-Di’s former girlfriend Yun-Yun who would help A-Di deal with some debts despite being treated with disdain by Xiao Yan. Suyun Ke is wonderful as NJ’s former girlfriend Sherry Chang-Breitner as a woman NJ hadn’t seen in three decades where they re-establish a friendship where Ke displays an anguish and heartbreak over the fact that she still loves NJ. Xisheng Chen is superb as NJ’s brother-in-law A-Di as this young man coping with marriage as well as money problems where he is reluctant to turn to his brother-in-law for help.

Issey Ogata is fantastic as the Japanese software mogul Ota as a man who is about principles and doing what is right as he proves to be someone that NJ can work with as well as trust in the very devious world of business. Elaine Jin is excellent as NJ’s wife Min-Min as a doctor who has been taking care of NJ’s comatose mother until she has a nervous breakdown that would put her temporarily out of action for much of the film. Jonathan Cheng is brilliant as Yang-Yang as this 8-year old boy who takes an interest in photography despite being mocked by the school principal as his curiosity and energy makes the character a delight to watch. Kelly Lee is amazing as Ting-Ting as a teenage girl who copes with her grandmother’s illness as she also experiences love for the very first time as it is presented with a natural and understated performance. Finally, there’s Nianzhen Wu in a tremendous performance as NJ as a father who tries to bring the family together while dealing with the chaos of his professional life as well as the appearance of an old flame where he admits to still have feelings for her but also loves his family as it’s a performance that is restrained but also touching.

Yi Yi: A One and a Two is a magnificent film from Edward Yang. Featuring a great cast, gorgeous images, wonderful music, and compelling themes on family and growing up. It’s a film that manages to be more than just a family drama as it offers so much in the way a family’s life is told in the span of one year. In the end, Yi Yi: A One and a Two is an outstanding film from Edward Yang.

Edward Yang Films: (In Our Time-Desires/Expectations) - (That Day, on the Beach) - (Taipei Story) - (The Terrorizers) - A Brighter Summer Day - (A Confucian Confusion) - (Mahjong)

© thevoid99 2016