At The Movies: Martin Scorsese’s Silence

Well, it has taken me much longer than anticipated, but recently I finally caught up with Martin Scorsese’s latest epic, Silence. A quick online search reveals that the film has elicited mixed reviews from a wide range of viewers—both regular filmgoers and film critics—so today I thought I would add my own two cents worth to the discussion. But first, a brief synopsis:

In 17th Century, two Portuguese Jesuit priests Garupe (Adam Driver), and Rodrigues (Andrew Garfield), travel to Japan in search of their mentor and teacher, Father Ferreira (Liam Neeson). The Catholic Church has lost touch with Ferreira, and what is worse, rumour has it that while under duress, Ferreira has committed apostasy (that is, renounced his religious beliefs).

This is the third major film from Martin Scorsese that examines aspects of different religions. The first was his 1988 adaptation of the Nikos Kazantzakis novel, The Last Temptation of Christ, and the second was the 1997 film Kundun, which is based on the life and writings of Tenzin Gyatso, the 14th Dalai Lama. Of course, if you have been following Scorsese’s career from the beginning, you might remember the open scenes of his breakthrough film Mean Streets (1973), which begins with Harvey Keitel’s character, Charlie, in church holding his hand over a burning candle, while ruminating on Catholic guilt and redemption, a theme that crops up throughout the film. But back to Silence.

The two young priests refuse to believe that Father Ferreira’s apostasy was due to the torture and abuse he received at the hands of his Japanese authorities. They are convinced that their mentor would never apostatise no matter how severe the suffering he was forced to undergo. Firmly convicted of this belief, the two men make the perilous journey to Japan to search for Ferreira and to continue spreading the Catholic view of the Gospels to the Japanese peasants they encounter. 

Things progress well enough for a while, but with the Japanese authorities closing in on their hiding place, the two priests separate in the hope they might evade their pursuers at least for a while longer. At this point in the film Adam Driver/Garupe disappears for pretty much the rest of the movie and attention is focused on Andrew Garfield/Rodrigues.

A powerful moment between Andrew Garfield/Rodrigues and a villager played by Shin'ya Tsukamoto.

To begin with, I was not convinced that Andrew Garfield—who carried two-thirds of the film on his shoulders—was up to the task, but as the film progressed, I was drawn further and further into what became a very powerful, and believable performance. Of course, he is soon captured by the authorities and before long his own faith is tested in ways that he (and we the audience), never imagined possible.

To my surprise, apart from the opening scenes filmed in the Cathedral of Saint Paul in Macau, China, the rest of the film shoot took place on various locations on the island of Taiwan. The cinematography is stunning throughout, and as you might expect from a master storyteller like Scorsese, he is in complete control of his actors and the story he wants to tell. 

Since I am not a practising (or lapsed Catholic), and indeed since I hold no religious affiliations whatsoever, I did feel somewhat removed from the emotional heart of this film. I was certainly able to appreciate the film on an intellectual level, but at certain points during the film I could not escape the voice in my head that insisted on reminding me about the cultural imperialism of the Catholic Church, and its often brutal proselytising among other cultures that were, and have been perfectly happy with their own homegrown religious practices. Of course, this ‘going out into the world to convert the heathen’ was not confined to the Catholic Church. The proselytising of today’s Mormons, Jehovah’s Witnesses, and representatives of other faiths shows that while the language may be different, the aims are still the same.

The wonderful Issei Ogata in his role as the old samurai.

However there are other lessons to engage the non-believer and agnostic in Silence. Reflecting on the film and the nature of belief, I couldn't help thinking about the current crisis plaguing Europe and other parts of the Western world. I am referring to the rise of Islamic extremism, and the ongoing ‘war on terror’ that Western governments and their extensive security forces, are no closer to winning today than they were following the invasion of Iraq in 2003, or for that matter since the terrorist attacks on New York City, and elsewhere in America on September 11, 2001.

It seems to me that just as the Jesuit priests of the 17th Century were prepared to face the harshest conditions imaginable, as well as the trials and tribulations meted out to them by local authorities intent on protecting their own positions of power, so too are the foot-soldiers of the Islamic State, Al Qaeda, the Taliban in Afghanistan, Boko Haram in Nigeria, the Moro Islamists in the Philippines, Indonesia’s Jemaah lslamiyah, and other murderous Islamic splinter groups. 

It also seems to me that just as the Jesuit priests in Silence refused to renounce their faith in the Catholic Church and their God, so too are hundreds of Islamic fundamentalists confined to prison systems around the world refusing to renounce their own beliefs and faith in the tenets of Islam, as interpreted by their local religious leaders. Should we be surprised at their dedication to their various causes? Should we applaud the commitment to their faith? Or should we inflict so much suffering and pain on them that they are forced to recant and deny their own Gods?

And yes, dear reader, I am well aware that the vast majority of the world’s Christians are not strapping suicide vests to themselves and blowing up concert goers in Manchester and Paris, or gunning down diners relaxing in restaurants and cafés, or driving cars and trucks at high speed through suburban streets running down pedestrians. However, I am also aware that a study of Christianity reveals a history of murderous inquisitions, bloody Crusades, and death by stoning, beheading, fire and more.

A still from the crucifixion scene.

While it may seem that I have trodden a path well away from the one I started out on, that is, a review of the film, Silence, I am not so sure. After all, the film explores the nature of faith, belief and God, and the consequences of sticking to those beliefs—or not as the case may be—no matter what. It should be said that the film also examines the nature of love, betrayal and forgiveness.  

Despite its length (160 minutes), Silence is a film that can bear repeated viewings, not only for the excellent acting, stunning locations and beautiful cinematography, but also for the opportunity it gives the viewer for reflection and contemplation. There is much to appreciate in Silence, and I am delighted that I had a chance to see the film in a cinema with a big screen, which allowed me to appreciate its scope and grandeur even more.

If you haven’t seen the film, here is the official trailer to help wet your appetite.

More Information

IMDb entry for Silence…

Wikipedia entry for Silence… 

Film Comment Interview with Martin Scorsese…

At The Movies: The Eagle Huntress

Photo: Asher Svidensky

The Eagle Huntress 

This spellbinding documentary follows Aisholpan, a 13-year-old nomadic Mongolian girl who is fighting to become the first female eagle hunter in twelve generations of her Kazakh family. Through breathtaking aerial cinematography and intimate verite footage, the film captures her personal journey while also addressing universal themes like female empowerment, the natural world, coming of age and the onset of modernity.

The above synopsis comes from the Internet Movie Database entry for this film. 

Immediately after watching The Eagle Huntress, I had my doubts as to whether the film was an authentic documentary, or merely a reconstruction of events that had already taken place earlier in the life Aisholpan Nurgaiv, a young girl who dreamed of becoming a hunter and trainer of eagles, a role that has traditionally been reserved for boys and men on the chilly, windswept steppes (large areas of flat, unforested grasslands in South East Europe or Siberia), in a remote corner of Mongolia. However, after a couple of hours searching for, and watching interviews with Otto Bell, the director, I am more than satisfied that the events depicted in the film are captured pretty much as they happened.

Otto had seen a series of photographs on the BBC website by the Israeli photographer, Asher Svidensky which immediately sparked his interest in Aisholpan’s life. He was also quick to see the cinematic possibilities of telling her story and bringing this to a wider world, and I’m very happy he did because the film is definitely worth seeing. 

The remote setting and natural scenery (the towering Altai mountain ranges of Western Mongolia, and steppes stretching off to the far horizons) are simply stunning. The rituals and routines of daily life, and the work of herding, milking, and hunting seem hard—but not so hard as to make one grateful they don’t live in that environment. Scenes of family life are generally presented as tough, but they also come across as romantic and wholesome. Here is a family that works hard and plays hard. Their material possessions are reduced to the basic and essential. We don’t see a television anywhere, although we do see several portable radios. There are also motorbikes, vehicles of various types, a portable solar panel or two—and horses. Lots of horses.

Oh, and of course, eagles. A lot of eagles as well.

I was very impressed with Aisholpan’s ability to work with and relate to the young Golden Eagle she caught with the help of her father, Rys. These magnificent creatures are not like the pigeons and doves that flap gently about our city streets. These are large, heavy birds that weigh up to seven kilograms (15 pounds), and grow to have 7-8 foot wingspans. The trainers and hunters must be able to bear the weight of these birds as they sweep in and land on their outstretched arms with a force that I suspect would knock pasty-faced city boys like myself flying off their feet. But Aisholpan handles these flying missiles with a wide smile and nary a quiver. That she was able to do this at just 13 years of age is an even greater achievement in my opinion. Clearly, they are brought up tough on the Mongolian steppes.

The eagle hunters capture the young birds just before they are able to leave their aeries, and according to tradition, will release them back into the wild after a number of years of captivity. In fact, the film begins with a scene in which Rys, Aisholpan’s father is depicted as doing exactly this.

There are scenes in this film that may distress some viewers. Hollywood movies involving animals usually have a sentence buried in the end titles that say something to the effect that,’no animals were harmed during the making of this film.’ The Eagle Huntress carries no such note. After all, the eagles are trained specifically to hunt. Rabbits mostly, but also foxes and other small game. They also have the ability to hunt animals as large as wolves, which I have to say amazes me no end.

Here's the official movie trailer for the film

I went looking on YouTube for more clips about the film and about Aisholpan in particular, and was pleased to find several very good videos that included interviews with her and her father. These took place during their visit to the Sundance Film Festival where the film was receiving its premier screening. The Eagle Huntress is beautifully shot, and Aisholpan, her father, and her family are all natural actors who are proud to share their culture and traditions with the wider world.

The Eagle Huntress Featurette - Documentary (2016)

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If you have a chance to see the film at your local cinema, or streaming on Netflix or another online streaming service, do so. You won’t be disappointed.

Updated: May 17, 2017

Just after uploading this post, I went looking for the original 2014 BBC News story that featured Asher Svidensky’s photographs of the young eagle huntress, which you can read here. 

I also happened upon a more recent article about the film that mirrored my opening paragraph doubts about the authenticity of the film with regard to it being a true documentary. This article, Is the Eagle Huntress really a documentary?, also on the BBC News website raises genuine questions about this issue, but again as I indicated above, I am still “…satisfied that the events depicted in the film are captured pretty much as they happened.”

And finally, both articles above carry discrepancies with regard to the spelling of Kazakh names. In the first article, the young girls name is spelt Ashol-pan, not Aisholpan, though the second version is used in the second of these articles. Also the IMDB gives her father’s name as Rys, while the second article on the BBC News site gives his name as Agalai. For now I have chosen to use the same spelling as that used on the IMDB site.

In Review: Route 66: An American (Bad) Dream

~ In 2002, three young Germans, Stefan Kluge, Mathias Eimann, and Gerald Menzel set off on their Great American Adventure, hoping to drive the length of Route 66. Their transportation of choice is a massive 2.3 ton, 1974, red Eldorado Cadillac convertible.

The resulting film: Route 66: An American (Bad) Dream, is a salutary lesson on what not to do on your American road trip – or any road trip for that matter. Clearly, these travellers where under prepared for their journey, since it would appear they had no insurance, no AAA cover, and no idea that the car they had paid $2,500 for was barely roadworthy.

The Caddie either breaks down constantly, runs out of fuel, or suffers a litany of other mechanical problems throughout the journey (broken gear box, flat battery, worn brakes, oil leaks, blown tyre and an exhaust pipe that needs to be replaced en route). In fact, the car breaks down before the journey even begins, which surely must have been a portent of the problems to come.

However, the three travellers are saved by their naivety; the assistance offered to them by complete strangers; the friendliness of the people they meet along the way; and the little mechanical knowledge they do share between them.

As you would expect, they meet an assortment of characters, and offer wry observations, such as this gem: “Americans live in their cars, and they eat there. For that, you need cup holders. Nowadays, new cars will be judged by the number of cup holders they have. If you watch advertisements, you will find that the number of cup holders seems to be as important as the number of cylinders or the vehicle load capacity. Modern minivans like the Chevy Venture have up to 17 cup holders. Above all, that could be the reason why our car [is] no longer been seen on the American highways. A missing cup holder! In 1974, even Cadillac wasn’t thinking about cup holders.”

Intriguingly, the credits note that the film is “Based on the book, Route 66 in einem 74er Cadillac”, (Route 66 in a ’74 Cadillac), written by Stefan Kluge and co-authored by Mathias Eimann. Stefan Kluge has also added the following brief plot summary to the film’s entry on the Internet Movie Database, where the film is given the title: Route 66: An American (Bad) Dream.

“Route 66: Ein amerikanischer Albtraum (2004) Three German provincials are searching for Hollywood. So they take the most American values they can picture: an absurdly vast car, full of fast food, bottles of oil and camera equipment on the way to California via Route 66. That they never find Hollywood is not the only surprise - on their quest for the American clichés they face unplanned incidents. A documentary drama somewhere between Jackass and Michael Moore, between gloating and satire.”

As Germany’s first Open Source film, you can download and view the film for free from the VEB Film website. You also get a good idea of how technology is being used to today. The creators of Route 66 filmed, edited and produced the film themselves. They are using the internet to ‘distribute’ the film around the world, and on top of that, they include a Creative Commons License which allows you to add to, or reedit the film in any way you choose.

As for the film itself, as already noted, is provides a good lesson in how not to organise and conduct a long road trip. Preparation is the key to a safe, successful journey, and while it is impossible to guard against every eventuality or potential problem, a little planning – as the saying goes – goes a long way.

Along the way we get to see vast stretches of open highway, interspersed with our intrepid travellers eating fast food (McDonald’s seems to be their main diet); repairing the vehicles brakes; visiting the famous Cadillac Ranch with its series of Caddie’s buried ‘nose first’ in the open prairie near Amarillo, Texas; doing the laundry; replacing a flat tyre; get brief glimpses of Washington, DC., New York City, and Las Vegas; more breakdowns; etc, etc.

As the three travellers cross the country, we learn almost nothing about the towns, cities, and country they pass through. If it wasn’t for their encounters with helpful strangers along the way – strangers who essentially save the travellers from themselves; from their own disorganisation and incompetence – we might not have even got to ‘meet’ some of the 300 million people who inhabit the United States today.

At 103 minutes the film is over long, and could easily be edited down to a workable 90 minute version without losing any flow or drama. In fact, apart from a brief encounter with a police patrol car, and watching them deal with constant mechanical problems, nothing particularly dramatic happens. The first 20 minutes of the film is spent waiting for the Cadillac to be fixed, and when the journey proper finally begins they head for New York and the ‘start’ of their road trip.

Because the three travellers presumably talked to each other in their native German, we learn about the details of the trip via a voiceover which, despite the strong German accent is quiet and unobtrusive, and never gets in the way of the unfolding journey. The commentary is filled with wry observations and explanations such as the one already quoted above, as well as others in which we learn about the ‘joys’ of cheap motel accommodations. Where “…every motel has its own individual characteristic, and while you are driving in the dusk, you are already wondering…if the indoor aerial will fall off during the NBA playoffs”; or this, “…the distance between your bed and your car won’t be more than three metres...”

Where the three are filmed talking to each other, subtitles allow us to listen in on their conversations as we ride with them inside the Cadillac.

Finally, excellent atmospheric music is provided throughout by the German electronic group, Valley Forge (note: the website is entirely in German). The group consists of Thomas Bechholds (synths, organ, piano, vocoder), with Michael Seitz (drums, percussion, synths) and Jürgen Winter (guitars).

To sum up, if you are planning your own road trip across America (or anywhere), Route 66: An American (Bad) Dream, is worth viewing for the many lessons to be gleaned from our hapless adventurers.

By the way, the ‘bad’ dream alluded to in the title, is entirely the result of the film makers own lack of care and forethought. As I’ve said throughout this review, and repeat once again, the film is a great lesson in what not to do when embarking on a long road trip, and if viewing Route 66 encourages you to put more thought and care into planning your own travels, it will have been worth the 103 minutes you invest in it.

View the Route 66 trailer…