Martin Scorsese's SILENCE, adapted from Shûsaku Endô's novel of monks in 17th-century Japan, starring Liam Neeson, Andrew Garfield, Ken Watanabe, and Adam Driver

Weehee! I'm glad Tsukamoto is in this.

in limited release Dec 23

http://variety.com/2016/film/news/silence-martin-scorsese-1201870272/

http://www.avclub.com/article/things-get-loud-first-trailer-martin-scorseses-sil-246384

garfield and driver look so, so bad

original film is incredible, its a real shame scorsese feels he needs to remake already incredible asian films rather than come up with new ideas. saying that, i'm not sure i want another wolf of wall street. dignified retirement with just maybe documentaries from now on please?

this seems up scorsese's alley but who knows how it'll turn out? garfield reminds me of someone in the trailer but i can't place it.

scorsese's batting 1.000 so far w/his religious pics for me tbh

https://www.youtube.com/watch?v=Zq7EDnC629s

I don't think this is a remake per se

It looks very different from the other film.

not comfortable w considering adaptations of same src txt as remakes

also p sure this is a batman begins prequel

not comfortable w considering adaptations of same src txt as remakes

it's one of my pet hates tbh

yeah, just cuz there was an adap of the novel 45 years ago it seems BS to say there can be no others

i read an article by Fr. James Martin (jesuit writer and priest who did heavy consultation on this film) and it made me pretty excited for it.

garfield givin me the steve zahn vibes

http://www.nytimes.com/2016/11/27/magazine/the-passion-of-martin-scorsese.html

Endo is Catholic iirc so this seems like an obv fit for Scorsese, whose Catholicism informs so much of his work imo

Seems weird now that Adam Driver is playing second fiddle to Andrew Garfield. I guess it was cast like 3 years ago or whatever.

dang this movie

i think the trailers for this tried to make it look a bit more mel gibson-ish in its religious persecution aspect but it's a very subdued and internal film in a lot of respects, it's quite something. hardly stylized in the usual scorsese sense whatsoever, it's a very "still" film. it moves at an extremely leisurely pace that i found pretty hypnotic but...it's not for everyone, that's for sure.

Driver lost 50 lbs for this, it seems, so playing Joey Ramone is not out of the question i guess.

Scorsese, Japan, interior, still, I'm all over this tbh

Nomar how did u get to see this ?

garfield reminds me of someone in the trailer but i can't place it.

Just saw a trailer for this at the movies and he looks like that guy from Horrible Histories, Mathew Baynton, so much so that I wasn't sure it wasn't him for a while. No doubt not the person he reminds you of though.

... he also looks a bit like Andy Murray, lol.

i saw it as a guest at a WGA screening last night. i wasn't sure what to expect, maybe something far less austere? it's not flashy, it has nary a single scorsese stylistic tic that i can think of, this is a very serious and adult film about religion. it probably won't succeed for everyone but i think many of the people who didn't like his 'gangs of new york' thru 'wolf of wall street' run might end up being some of its biggest proponents. i could be wrong. i think he's done something really interesting here. the performances are all very good to outstanding and it looks amazing.

glad he couldn't squeeze in any Stones tracks

so Garfield's OK? I thought he might liack the gravitas.

i thought garfield was fine, i had only seen him in a couple smaller roles and couldn't get a read on him in those (red riding and social network) but here i think he's gives a good central performance.

*he gives

this movie doesn't really fuck around, you can really see why Scorsese has wanted to make it and you can see it's incredibly personal (as opposed to say, my wondering why he wanted to make Gangs of New York, even though i did like it.)

can we get mods to replace Ken Watanabe w/ Tadanobu Asano in thread title?

― skateboards are the new combover (Dr Morbius), Sunday, September 13, 2015 5:55 AM

btw tadanobu asano was exceptionally good

video

https://www.fandor.com/keyframe/scorseses-27-years-silence

Thanks nomar. Can't wait for this. I finished the novel months ago and it's one of those books that haunts, for sure.

initial review roundup

https://www.fandor.com/keyframe/martin-scorseses-silence

FC interview by Nick Pinkerton (likely best read after seeing the film).

I couldn’t get the Japanese films out of my mind. Where to put the camera? Tatami level? The old story of the Westerner in Japan. I’m not Japanese; I can’t shoot nature or roof tiles the way Kobayashi did in the opening credits of Samurai Rebellion, or in Harakiri. I’ll say it: I enjoy lining up medium shots and inserts. They call them inserts, but there’s no such thing. It’s a shot. If you have somebody else do your inserts, it’s not going to work. You have to do it. And that comes via Bresson and Hitchcock and Ozu. I enjoy thinking in those cuts.

http://www.filmcomment.com/article/martin-scorsese-silence-interview/

thought this was great

intrigued by this

might actually go watch it

i really want to see this

wide release on the 13th

right now it only looks like it will be playing in 1 theater in Sacramento but i'm def gonna try to get out & see it

Oscar nominations are on the 24th, so it could go wider after that if...

hope so!

morbs did you see it? are you reviewing it and have to maintain "silence" until your review comes out??

seeing this tomorrow with my recently un-lapsed catholic parents

I quit criticism about 3 years ago, nomar. I have not seen the film yet because I could not get up early enough for a cheap matinee during the holidaze.

This post might be a bit spoilery

The stylistic choices Scorsese made are def p interesting here - there are one or two Mizogouchi-like moments (shots of boats on misty waters) but I was surprised that he pretty much resisted long tracking shots in favour of yes, shot-countershot (in other words, the film sticks very closely to the traditions/methods of classical American narrative cinema). You can imagine a much more 'hysterical' approach to the same subject matter (only really present in some of the performances - Garfield seems to spend much of the film weeping); so the film's almost complete lack of a musical score, the sounds of 'nature' that open and close the film, the limited colour palette (a lot of brown) and the mostly discrete handling of the violence and torture all speak to the silence of the title. This is a contemplative movie about gigantic human feelings and beliefs.

Felt there were a couple of mis-steps - the voice of Christ moment, and the final shot, which is as hokey as Spielberg at his pandering worst - but you certainly couldn't accuse Scorsese of resting on his laurels. It's inspiring to see such a big name director trying something new so late into his career.

at first blush this felt like a masterpiece. i was overwhelmed by it. i'm sure i'll temper that later but wow.

I love this movie too

much to say but regarding style there was two (at least) really striking moments in which the camera rapidly pulls out and up in moments of extreme pain--but that final shot, which did not strike me as sentimental or in poor taste, reverses that camera movement in a really powerful way.

I'd totally given up on him after hugo and the wolf of shite street, then he directs two career-best movies in a row.

the Masahira Shinoda version is up there with Marty's too

I tried watching this but bailed out halfway through. Somewhat tedious.

Give it another chance.

I just read the entire thread, it was ten times more enlightening than watching the film.
Scorsese's interest in religious topics is painfully sincere and obvious but I don't think his skill set matches his aims, none of the three religious films he's made work. The final shot in this is warmed-over Tarkovsky.
Stylistically, Scorsese tries to restrain his expressionist tendencies, but what results looks like a particularly slow "serious" European co-production directed by someone like Roland Joffé.

How does the painful sincerity and obviousness show itself in Silence?

I’m sure I said this earlier in the thread, but Silence moved me.

top 5 Scorsese

How does the painful sincerity and obviousness show itself in Silence?

Just that it's obvious that he's working over deeply considered beliefs and trying to communicate them, the film wasn't made just to win a bunch of awards or to kill time.