Oscar History

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Jun 14 2020


byCláudio Alves

有时,马丁·斯科塞斯的片目模样的项目串花了几十年,他们看到光明的一天前。这些可怕的作品包括像血腥史诗电影纽约黑帮和last year's mob drama爱尔兰人和17世纪的宗教集历史剧安静(2016)。


1971年,筱田正浩执导了自己的远藤周作的书改编,甚至还对剧本的作家合作。大约半小时比斯科塞斯的161分钟的宏伟巨著,筱田的短安静is a work of extreme severity both at the level of form and tone. Everything looks brown in this film, even sunlight and deep shadow, giving the pictures the appearance of living wood carvings. The compositions are studied and painterly, the soundtrack a shrieking dissonance that manifests interior thoughts when actors and script fail to do so. It's also a violent picture where the formal rigidity only highlights the horror onscreen.

The story is the same.


在某些面对死亡的时候,这里只有一个尘世得救的希望 - 叛教。人们指责继基督教信仰必须踩在神圣的形象,通常是耶稣的雕刻,以证明自己的清白的。人们很容易认为这样的事情的讨巧,甚至裁判把它描述为不否认背道的信仰手续。尽管如此,否认基督是在虔诚的眼睛接受诅咒。祭司,这种情况尤为费劲,因为它挑战了教会的教义和他们的道德指南针。那么,是否可以要求愚忠时,另一种方法是惩罚和死亡?正在遭受信心的必要性?

主要的角色,父亲罗德里格斯,因此ravaged by doubts which only worsen when it's not his life he is risking but that of the people who protected him. At the end of the day, this tortuous story isn't simple misery porn, but a vehicle for philosophical debate as well as historical reexamination. "Silence," the novel, is deeply critical of the Japanese, but it's not kinder to Portuguese Jesuits by any significant means. Rodrigues' perspective dominates the story, but even he starts seeing the failings of his logic, and the arrogance of his folly. Through his experiences, we find a critique of evangelization as an extension of European colonizing ambitions.

Their formal execution of the two films is radically different. The Japanese film chooses strict discipline while the American production embraces its epic scope with lush period detail and dramatic mechanisms aplenty. However, it's in regards to theme and adaptation that these director's visions are better contrasted. For Shinoda,安静是关于历史和政治,关于痛苦和一个人的身体的破片。对于斯科塞斯,这是一个哲学难题,一个地方信仰的中心舞台。换句话说,日本安静is a story of flesh, while the American安静is a tale of the spirit.

Shûsaku Endô is said to have disliked the '71 adaptations despite his involvement in the production, pointing at the climax as an especially unforgivable failure. Scorsese stages the scene when Rodrigues tramples the image of Christ as an occasion of spiritual transcendence, going as far as to break God's silence with a shocking voice-over. Shinoda, on the contrary, is much more direct and raw, portraying the moment as Rodrigues' breaking point rather than his ultimate act of faith. In the aftermath of such a scene, the directors also vary their approaches greatly, with the Japanese master choosing the cruelty of forceful sex to end his miserable narrative, while Scorsese looks for a morsel of hope.

Before concluding the comparison, one final element deserves consideration.

The acting is very different across the two安静s, and it goes way beyond the fact that one movie is predominantly in English while the other is in Japanese (Portuguese is mostly absent, and no cast member in either production can pronounce the main character's name). Summarily, we can observe that each filmmaker directed their cast following the way they used the camera. Shinoda's actors (including Tetsurô Tanba, a Japanese man, playing the priest's Portuguese mentor) work in a register of grim minimalism. Scorsese's actors, on the other hand, explode in paroxysms of emotion, using their bodies and ravaged voices to externalize their characters' tortured souls.

Still, despite such distinctions, the same character provides both films' with their MVP. Inquisitor Inoue is the narrative's main antagonist, though such a description may be too simple. The novelist and both filmmakers delay his entrance, presaging it with rumors of great malevolence. Because of that, when we finally meet him, we're somewhat disarmed by his banality, taken aback by how un-monstrous this monster appears to be. More than anything, he comes off as a strict but bored administrator, a man of logic and reason who is just as talented with rhetorical conversation as he is with inquisitorial carnage. After hearing his case, we are horrified by his methodology, but we also fear he may be right when it comes to the place of Catholic priests and Christianity in Japan.

In 2016,Issei Ogata是斯科塞斯对角色的选择,他提供的爬行动物辉煌的业绩。著名为他在日本的喜剧作品和舞台表演,演员用他的整个身体给生活井上,并且在一个特定的场景,当面对罗德里格斯的固执,他明显地放气象脉冲气球。图中的这种解释是一个发现在他的花言巧语,在他的残忍残暴欢乐幽默。这也是一个典型的性格演员的表现,增色的痛苦和疑问的史诗故事。

In that regard, the 1971 version offers an astonishing contrast.

冈田英次生于100年前,是日本电影最伟大的演员之一。在广受好评的艺术电影,如为他的参与广岛之恋Woman in the Dunes, Eiji Okada was internationally recognized when he stepped into the same character's shoes in 1971. His performance certainly suggests the confidence and authority of a star, for he dominates every scene he's in without ever having to move a muscle. Instead of grotesque, his take on the character forefronts his power and lets his taste for blood percolate in the background, almost out of sight but still palpable.

在一个充满痛苦的电影中,摄影本身屈从于抑郁症,冈田英次的井上闪耀如太阳。他的笑容轻微的锋利的刺是穿刺安静的基调,让那种兴奋的奇特。演员并不需要过度进行威胁被来势汹汹,他的存在本身就足够了。这就是一个完整的与生俱来的魅力和性别吸引力的明星简约作用。如果您是冈田英次的粉丝,你必须找出1971年的安静. Even in a supporting role with little screen time, he is incandescent.



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Reader Comments (6)

Terrific article. Thanks for this.

June 14, 2020 |Unregistered CommenterMichael Cusumano

Now I have to watch the 1971's version

June 14, 2020 |Unregistered CommenterEd


June 14, 2020 |Unregistered Commenter乔纳森

乔纳森 - 我同意这种评估。在我沉默的葡萄牙审查,对影片的原始版本写的,我相信我把它叫做老主人的最严峻的作品之一,一个是挑战观众失去自己在沉思。至少,我的笔记说。我喜欢它,但我似乎总是喜欢在信仰斯科塞斯的盛大冥想。

Ed -- I was heartbroken when Silence was so utterly ignored during its awards season. The cinematography nomination was nice, but the film deserved so much more. I'd give Ogata the Oscar, and Scorsese deserved a nod for his adaptation even though I sometimes despise that over-emphatic narration.

迈克尔 - 谢谢你的客气话。这意味着很多从别人谁的文章我爱读这么多来。我的“新经典”系列的忠实崇拜者。

June 14, 2020 |Unregistered CommenterCláudio Alves

I'm glad someone picked up on Ogata's genius in the role,you keep coming up Claudio with really interesting well written articles.

June 14, 2020 |Unregistered Commentermarkgordonuk

我喜欢安静a lot as it definitely play into the ideas of faith and how it can shake someone's beliefs. I think it's one of Scorsese's best films and Andrew Garfield should've been nominated for that film instead of the overwroughtHacksaw Ridge.

June 14, 2020 |Unregistered Commenterthevoid99

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