Note: the following is a discussion of themes and ideas within the film ‘Silence’, and thus will contain a number of plot details.
In exploring ‘silence’, eminent composer John Cage gave us four minutes and thirty three seconds of pretentious twoddle. Some might enjoy listening to literally nothing while a conductor floats a baton over an air of emptiness, but I personally think it’s just the sort of thing people did back in 1952 to appear cool and edgy, and a way for little Johnny to make a mint from, like I said, literally nothing. Sending off a blank piece of paper to an orchestra and pretending it’s all about contemplating silence might go down well with the artsy fartsy crowd (the sort that would mistake a pair of glasses for art), but I’d much prefer a 160-minute epic historical drama.
Yes, I’m talking about Silence, based on the 1966 Shūsaku Endō novel and in development by director Martin Scorcese for a whole quarter century. It’s a tremendously ambitious film, following the story of two 17th Century Christian missionaries (Andrew Garfield and Adam Driver) who travel to Japan to find their mentor (Liam Neeson), of whom they have heard rumours of apostasy. (more…)