"Silence" is the best work that impressed me the most recently, and fortunately, I saw it on the screen. What "Silence" brings to me is not a kind of emotional venting and sadness, nor is it a physical sympathy that comes from torturing the flesh, but like the damp winter, the kind of heavy attachment to the skin that insists on refusing to disperse. go.
The two priests set off to find their father-like mentor who had been missing for many years, a classic Odyssey-style beginning. The first half of the film has a strong sense of emotional substitution. The two passed through the noisy Macau port and came to a muddy Japanese village. On the way, Kichijiro (Kichijiro) was the guide of the short journey and the lead person who will go through the whole journey. The perseverance and suffering of the villagers, the sincerity of the priest and the patience of confession to Yoshijiro make people think that what is coming is a "victory of will" for salvation. However, such a false expectation is obviously more in line with Mel Gibson, rather than the old-fashioned Scorsese.
The initial touch, but in the second half of the stage when the translators played by Inoue Chikugo Mamoru and Asano Tadanobu appeared. The wonderful performances of the two people almost stole the second half of the movie. Like Dostoevsky’s religious justice, they shook the fragile relationship between the audience and Father Rodriguez and the believers. Affection.
The priest’s persistence and the inexplicable death of the believers have lost the only remaining meaning. The unfortunate person who was beheaded only left a trace of blood across the screen. The original intention of the priest to go to Japan was to find the trace of Father Ferreira. There is no master. Miracles are like rumors, and Yoshijiro's confession is reduced to a farce, dumbfounding. Perhaps the audience still has a glimmer of hope for Father Rodriguez's persistence?
At the climax of the film, Scorsese is almost cold. Father Rodriguez finally abandoned his religion. The slow motion and "silence" like Scorsese's signature, buzzed like a wakeful slap in the face. The only voice was Father Van Li'an who had prevented them from going to Japan.
Withdrawing to the end, the narrative of the film turns to the third person, and the ending of the protagonist is seen from the eyes of a Dutch businessman. At the end, Yoshijiro unexpectedly asked for confession again, but this time he was rejected, and finally disappeared due to the discovery of the Christ jewelry. Until here, the image of Yoshijiro was truly complete and finished. He is not a good person, but he cannot be defined as a harlequin, not just an abominable traitor, but Yoshijiro is a weak person with nowhere to hide.
In the last scene, Rodriguez seemed to be in Limbo. After changing his name, Okada Sanemon no longer mentioned the Lord’s name and was silent. When he arrived at the Cross of Christ, his wife was taken aback, but also silent, and methodically placed the Japanese sword on his chest.
I like Scorsese's control of "The Silence", as in previous works, in the impeccable photography, his consistent restraint and calmness, without wanton sensationalism, may be insufficient for some movie viewers. The feudal Japan under the lens does not appear sloppy due to blood stains and mud, but is exceptionally clean. There is almost no music in the film, only pale chants, a few slight percussions and waves.
Religion is never something that can be said clearly in a few words. It must be said that human nature is simple and rude to all problems. I also don't think that the film needs to be replaced by a substitute for the position of the 101 introductory course of Theology in the university. This is a legend about Father Rodriguez’s abandonment, a story about choice. As soon as he arrived in Japan, Rodriguez said, trample on the icon (Trample)! Calope said, no. Who loves God's people more? Calope's love allows him to pounce on the drowning villagers without hesitation and desperation, but whoever will save the weak mortals who need to confess again and again. Splitting the spiritual world apart, I remembered the sentence "It's easy for you, I let it hard." Maybe it's going to be said to wash the ground.
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