February 20, 2017

Faces in the water

Stalker (Andrei Tarkovsky, 1979) and Silence (Martin Scorsese, 2016). Like both Stalker and Andrei Rublev, Silence could be understood as a long and introverted meditation on the gap between religious aspirations and ideals and the compromises made by those who must live in the world. It is profound enough to wear the comparison and there is a rare cautiousness, or maybe piousness or seriousness, in the way that Scorsese directs. It may be true that Andrew Garfield lacks the gravity or sorrow that Liam Neeson and even Adam Driver carry with them, or the thin-skinned anguish of Willem Dafoe in the more turbulent and vivid Last Temptation of Christ, but there are many consolations. A remarkable Japanese supporting cast is just one of them. A thoughtful screenplay (by Jay Cocks and Scorsese) is another. Like Tarkovsky (or recent Malick), this is religious art, and you have to meet it at least halfway.