One of Scorsese's Best Cinematic Achievements

Rating: 10/10 (8 January 2017)

Contains Spoilers.
I must confess that I went to see Silence purely based on the fact that it was directed by Martin Scorsese and have to admit I was taken aback. Unlike most Martin Scorsese films, Silence does not scream the director's style or technique. The Wolf of Wall Street, Taxi Driver, The Departed to some degree and most certainly GoodFellas, as well as the director's other gems, quite clearly are 'Scorsese' pictures – the fast editing, the tracking camera shots, the amazing variation in shot angles, shot speeds and shot types all seamlessly integrated. Additionally, the material and themes he chooses to deal with are often very specific - the larger-than-life characters, the inner-city violence and brutality, the rise-and-fall story arcs. However, with Silence many of these elements are absent, and often I did not 'feel' that I was watching a Scorsese film. In fact, I was disappointed with this 'diluted' version of Scorsese.
The historical setting and epic scale feels somewhat ill-at-ease with Scorsese's style. That said, most of the scenes are fantastically directed. (Spoilers) The opening torture scenes set amid mist are powerfully harrowing – Scorsese does not make the mistake of attempting to create undue sympathy for the victims through the use of close-ups. Instead the wide and medium shots create a sense of detachment within me for the victims and make me feel more like an observer for these horrendous acts rather than an audience member who is being aimed at by the film-maker to create tension for.
By the term 'epic scale' I mentioned earlier, I do not mean large scale battles or thousands of extras marching across a field – instead I mean the vast wild and ancient environments, which are beautifully shot and photographed. (I sincerely believe that Silence should be in with a very big chance of going all the way to winning the Best Cinematography Academy Award). Perhaps also one can apply the term 'epic' to such a film through the monumentally powerful themes of religion, questioning one's deity and persecution of faith that are present in every scene.
It is through these themes where the film's essential elements lie – it is the underlying drive of the film and one feels this is the reason why Scorsese has been attracted to this project. Indeed, the fact that Scorsese also co-wrote the film as well as directing and has been attached to Silence since the early 1990's, tells just how important the themes portrayed here really are to him. Religion has always been a very strong aspect in many of Scorsese's films but never the indispensable factor that drives the story as it is here.
Essentially, Scorsese's films are primarily character driven and this one most definitely is. It is the main character's questioning of his faith and what it means to deny religion for the 'greater good' that kept me watching throughout. Although it is present throughout the movie, it is the scenes where these themes are the main focus point where I feel Scorsese has done some of his best work, perhaps ever.
Overall, the film is not 'interesting'. It didn't get my heart beating or keep me on the edge of my seat with excitement. Instead, the emotional and mental concern for the struggles of the characters throughout, and the constant uncertainty about people's beliefs, is what kept me hooked. Andrew Garfield's acting varies I feel in places, but overall is solid enough to sustain the film. Adam Driver I feel is the stronger of the two at times. Liam Neeson's performance though is extremely strong and throughout did not, in my opinion, put a foot wrong, and has produced of the very best performances of his career and of the year. At least he has shown the world he is not just capable of terrible action films – this is a Neeson who is incredibly powerful and world weary.
Although this is not a 'Scorsese style' film, it really is visually impressive at times, and not just through cinematography. It is change of pace and expectation from one of the very best film director's in history, but it must stand as one of his best cinematic achievements.