A mission to the land of secular Japan
Martin Scorsese’s 26 year film in the making, which featured in the Cannes Festival in November, is set to be released in the global cinemas on 23rd December. The premise of the story: two Portuguese Jesuit priests are set on a mission to feudal Japan, to procure a lost mandate, but as they progress in their pursuit, they face prosecution under the demise of their capturers.
It bows a familiar cast: Ra’s Al-Gul, the Amazing Spiderman and Kylo Ren. Andrew Garfield and Adam Driver are one of the rising stars in Hollywood; fresh from their break-through films that instated them as the pretext of the natures of these two missionaries. The stranded outcast is played by Liam Neeson, much pertained as the veteran priest who committed apostasy and is seen as a defected agnostic rogue.
As a fan of Scorsese’s film, this is one exception that particularly lifts the lid of insatiability.
“The very nature of secularism right now is really fascinating to me, but at the same time do you wipe away what could be more enriching in your life, which is an appreciation or some sort of search for that which is spiritual and transcends?”, Martin Scorsese.
We have seen his classic films like “Raging Bull” and “Taxi Driver”, and his more recent work of “Hugo” are seen as the realistic forms of adaptations in the history of cinema. The interesting account to point out is that Scorsese’s inference on the topic of secularism has a profound complex that governs the world that we see today.
The catch of the story has the vantage of telling the conflicting interests of secularism and religion. The context of spreading religious belief in feudal Japan through these missionaries is seen from two interest groups; the people and the secular governance. The people, who seek religion for salvation and acceptance, see as an escape from the harsh realities of an impoverished society. From the secularism of the feudal hierarchy, it sees religion as a provocation to power; undermining its importance and security in governance.
The hope of uniting a world in the benign expense of religion is a notion that Scorsese is trying to portray, but is met with obstacles of the rhetoric of secularism; the imbedded belief of a philosophy over a religious prince. The use of the word silence perfectly depicts the motion of a secular party’s interest, and it is to silence the preachers of God.
Scorsese’s daring acclimation to the subject of secularism, in hindsight, has a speckle of debate in the context of the film. An almost altruistic approach set in the lives of these two priests against the repugnant secular governance. The secular realists or the benign men of God?