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Movie review: ‘Silence’

Scorsese’s film adaptation lives up to original book

This image released by Paramount Pictures shows Andrew Garfield, left, and Shinya Tsukamoto in a scene from "Silence." (Kerry Brown/Paramount Pictures via AP)

Sometimes a movie adaptation of a great book can be reverent, yet at the same time make a few key changes that alter the outlook, the resolution and even the message.

This is what director Martin Scorsese has done with Shusaku Endo’s “Silence,” about 17th-century missionaries to Japan and the ghastly persecution they encountered. It’s a good film, but it feels very different from Endo’s book.

It’s hard for me to judge the movie on its own merits, as I consider “Silence” one of the 20th century’s greatest novels. Apparently Scorsese shares this feeling, as this new film has been a project of his literally for decades.

So why did he alter what Jesus says to the central character — the Portuguese Father Rodrigues (Andrew Garfield) — as he is wondering whether to recant his faith? It’s not a huge change, but I was terribly disappointed by its omission of Jesus’ key mission-statement.

Even more problematic: I’m virtually certain that the voice of God was provided by Liam Neeson, who also plays the apostate priest Father Ferreira in this film; the book’s Ferreira certainly does not speak for God, and this decision, though subtle, is more than a little troubling in a story where the voice of God is — as the title indicates — very hard to hear.

And finally, Scorsese has all but scrapped the book’s fascinating appendix, which makes it clear that Christianity is still flourishing in Japan, though it has gone underground.

Ultimately, Scorsese and co-writer Jay Cocks seem to be suggesting that faith is strictly a personal thing and cannot be imposed on another culture. Again, that is not quite what’s asserted in Endo’s book, which focuses on Rodrigues having to kill his pride — and his cherished ideas of what it means to serve God.

Changes aside, the film looks handsome, with first-rate photography by Rodrigo Prieto and excellent production design by the veteran Dante Ferretti (“Cinderella,” “Hugo,” “Shutter Island”). The terrific cast is highlighted by strong work from Garfield, Adam Driver (as Rodrigues’ fellow priest) and particularly Yosuke Kubozuka as the troublesome Kichijiro. Indeed, this last character is the movie’s triumph, ever posing new questions about faith and failure; Endo, who wrote several lighter, funnier novels, would have appreciated the way Kichijio at times even provides some comic relief.

Though it’s always absorbing, the movie should have been trimmed, especially in its first half, which is almost slavishly faithful to the book; 161 minutes is too long for such a straightforward narrative.

Scorsese’s “Silence” is certainly respectful, not only toward its source but also toward the stalwart Japanese Christians, to whom the film is fondly dedicated.

Based on actual events, “Silence” was previously filmed in 1971; Scorsese’s new version is perhaps best seen as one interpretation of a classic work — kind of like the many different versions of “Hamlet.” As such, it is well worth seeing and may generate discussions about faith, the church and mission work — while also sending new readers back to the award-winning 1966 novel.

That would make Scorsese happy.

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