The Christian martyrs of Nagasaki are depicted by an unknown 17th century Japanese artist.
I have long been an ardent fan of Martin Scorsese's films. Taxi Driver, Raging Bull, Goodfellas, The Aviator, Gangs of New York, The Last Waltz, Casino, etc. are among the defining movies of the last forty years. And The Departed, Scorsese's 2007 crime drama, was the subject matter of the first YouTube commentary that I ever did. It is certainly the case, furthermore, that the director's Catholicism, however mitigated and conflicted, comes through in most of his work. His most recent offering, the much-anticipated Silence, based upon the Shusaku Endo novel of the same name, is a worthy addition to the Scorsese oeuvre. Like so many of his other films, it is marked by gorgeous cinematography, outstanding performances from both lead and supporting actors, a gripping narrative, and enough thematic complexity to keep you thinking for the foreseeable future.
The story is set in mid-seventeenth century Japan, where a fierce persecution of the Catholic faith is underway. To this dangerous country come two young Jesuit priests (played by Adam Driver and Andrew Garfield), spiritual descendants of St. Francis Xavier, sent to find Fr. Ferreira, their mentor and seminary professor who, rumor has it, had apostatized under torture and actually gone over to the other side. Immediately upon arriving onshore, they are met by a small group of Japanese Christians who had been maintaining their faith underground for many years. Due to the extreme danger, the young priests are forced into hiding during the day, but they are able to engage in clandestine ministry at night: baptizing, catechizing, confessing, celebrating the Mass. In rather short order, however, the authorities get wind of their presence, and suspected Christians are rounded up and tortured in the hopes of luring the priests out into the open. The single most memorable scene in the film, at least for me, was the sea-side crucifixion of four of these courageous lay believers. Tied to crosses by the shore, they are, in the course of several days, buffeted by the incoming tide until they drown. Afterwards, their bodies are placed on pyres of straw and they are burned to ashes, appearing for all the world like holocausts offered to the Lord.
In time, the priests are captured and subjected to a unique and terrible form of psychological torture. The film focuses on the struggles of Fr. Rodrigues. As Japanese Christians, men and women who had risked their lives to protect him, are tortured in his presence, he is invited to renounce his faith and thereby put an end to their torment. If only he would trample on a Christian image, even as a mere external sign, an empty formality, he would free his colleagues from their pain. A good warrior, he refuses. Even when a Japanese Christian is beheaded, he doesn't give in. Finally, and it is the most devastating scene in the movie, he is brought to Fr. Ferreira, the mentor whom he had been seeking since his arrival in Japan. All the rumors are true: this former master of the Christian life, this Jesuit hero, has renounced his faith, taken a Japanese wife, and is living as a sort of philosopher under the protection of the state. Using a variety of arguments, the disgraced priest tries to convince his former student to give up the quest to evangelize Japan, which he characterized as a "swamp" where the seed of Christianity can never take root.
The next day, in the presence of Christians being horrifically tortured, hung upside down inside a pit filled with excrement, he is given the opportunity, once more, to step on a depiction of the face of Christ. At the height of his anguish, resisting from the depth of his heart, Rodrigues hears what he takes to be the voice of Jesus himself, finally breaking the divine silence, telling him to trample on the image. When he does so, a cock crows in the distance. In the wake of his apostasy, he follows in the footsteps of Ferreira, becoming a ward of the state, a well-fed, well-provided for philosopher, regularly called upon to step on a Christian image and formally renounce his Christian faith. He takes a Japanese name and a Japanese wife and lives out many long years in Japan before his death at the age of 64 and his burial in a Buddhist ceremony.
What in the world do we make of this strange and disturbing story? Like any great film or novel, Silence obviously resists a univocal or one-sided interpretation. In fact, almost all of the commentaries that I have read, especially from religious people, emphasize how Silence beautifully brings forward the complex, layered, ambiguous nature of faith. Fully acknowledging the profound psychological and spiritual truth of that claim, I wonder whether I might add a somewhat dissenting voice to the conversation? I would like to propose a comparison, altogether warranted by the instincts of a one-time soldier named Ignatius of Loyola, who founded the Jesuit order to which all the Silence missionaries belonged. Suppose a small team of highly-trained American special ops was smuggled behind enemy lines for a dangerous mission. Suppose furthermore that they were aided by loyal civilians on the ground, who were eventually captured and proved willing to die rather than betray the mission. Suppose finally that the troops themselves were eventually detained and, under torture, renounced their loyalty to the United States, joined their opponents and lived comfortable lives under the aegis of their former enemies. Would anyone be eager to celebrate the layered complexity and rich ambiguity of their patriotism? Wouldn't we see them rather straightforwardly as cowards and traitors?
My worry is that all of the stress on complexity and multivalence and ambiguity is in service of the cultural elite today, which is not that different from the Japanese cultural elite depicted in the film. What I mean is that the secular establishment always prefers Christians who are vacillating, unsure, divided, and altogether eager to privatize their religion. And it is all too willing to dismiss passionately religious people as dangerous, violent, and let's face it, not that bright. Revisit Ferreira's speech to Rodrigues about the supposedly simplistic Christianity of the Japanese laity if you doubt me on this score. I wonder whether Shusaku Endo (and perhaps Scorsese) was actually inviting us to look away from the priests and toward that wonderful group of courageous, pious, dedicated, long-suffering lay people who kept the Christian faith alive under the most inhospitable conditions imaginable and who, at the decisive moment, witnessed to Christ with their lives. Whereas the specially trained Ferreira and Rodrigues became paid lackeys of a tyrannical government, those simple folk remained a thorn in the side of the tyranny.
I know, I know, Scorsese shows the corpse of Rodrigues inside his coffin clutching a small crucifix, which proves, I suppose, that the priest remained in some sense Christian. But again, that's just the kind of Christianity the regnant culture likes: utterly privatized, hidden away, harmless. So okay, perhaps a half-cheer for Rodrigues, but a full-throated three cheers for the martyrs, crucified by the seaside.
This article originally appeared at WordOnFire.org and is used with permission.