Christocentric: film

Silence by Shūsaku Endō
My rating: 3 of 5 stars

It took me a long time to work through my thoughts and feelings about this historical novel. Silence is very well written and Endo's style is enjoyable. I admired the two Portuguese priests Rodrigues and Garrpe for going to Japan to find their reportedly fallen mentor Ferreira and support the Japanese Christians in their struggle against persecution from their government. The events surrounding the suffering and martyrdom of the Japanese church during the seventeenth century were deeply moving and heroically inspiring. The book is worth reading for this testimony alone. I certainly felt compassion for the weak faith of Kichijiro and longed for him to find strength. But then came the ambiguous final chapters. The rest of my review contains spoilers.
After the Japanese authorities capture Rodrigues, they explain that they have outlawed Christianity because, while it may be true for Portugal, it is not true for Japan. I cheered when Rodrigues responded, "It is precisely because truth is common to all countries and all times that we call it truth. If a true doctrine were not true alike in Portugal and Japan we could not call it 'true'." Then the "fumie" began.
The Japanese leaders had realized that getting Christians to apostatize was much more effective for defeating the faith than merely martyring its followers. The "fumie" was an image of Christ and Christians were told to step on it or face the agonizing torture of being hung upside down over a pit of filth, while blood slowly dripped out of a cut inflicted by the persecutors on the victim's forehead. Death took days. The persecutors force Rodrigues to listen to the moans of the Christians in this condition.
By striking the sheep they try to get the shepherds to apostatize. Fallen shepherds mean dispirited sheep and dispirited sheep were more likely to roll over for their persecutors. When Ferreira appears in the story as just such a fallen shepherd, he implores Rodrigues to apostatize. If he does so, the authorities have agreed to release the suffering Christians. Ferreira says that God won't do anything to help them, but if Christ were here he would apostatize for the Christians. Rodrigues had been struggling with the silence of God and other doubts throughout the novel and now it comes to a head. Under that twisted pressure Rodrigues looks at the "fumie" and hears what may or may not be the voice of Christ say that it was to be tread upon by men that he came into the world, so go ahead and trample. But as soon as Rodrigues does so a cock crows in the distance. What should the reader think?
The ambiguous book ends with Rodrigues and Ferreira taking Japanese names and wives and working with the government to identify Christian symbols and thus oppress those who bear them. Rodrigues comes to the conclusion that though Christ seemed to be silent during his trials he was always speaking through him. But the reader is left wondering what the message was. Rodrigues dies ministering forgiveness to the returning Kichijiro, and so he still seems to have faith though living in contradiction to it.
While I sympathize with weakness, I am also reminded that the current powers that be in the world at large want Christians to do exactly what the two priests do in the story: apostatize a public faith without giving up a private faith. The interpreter says, "It is only a formality. What do formalities matter. ... Only go through with the exterior form of trampling." "Go ahead and keep your faith to yourself," secularism pleas with us, "just don't bring it up anymore." Endo's book, which is now a movie directed by Martin Scorsese, seems either to serve up what the world has ordered or lament apostasy.
Endo was a Catholic Christian so it must be a lament over apostasy, but I couldn't help being disappointed. Throughout the novel, I kept wishing that Rodrigues would see that God was not silent but speaking to the Japanese Christians through his ministry and would also speak through his firmness in the face of fear. But Endo's priest doesn't realize this until after he has betrayed and then it seems the priest is on the wrong side.

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The other night I watched the film "Inglorious Basterds." It reminded me of why I normally avoid Quentin Tarantino movies--he glorifies violence. I can hear someone saying that the violence portrayed was for a good cause--the annihilation of Nazis. True, but even in pre-Christian Greek drama all the really graphic stuff happened off stage so that it could be muted by the imagination. It was the Roman gladiatorial games that took things beyond the pale and reveled in graphic violence.

This doesn't mean that there isn't anything to learn from the movie. The characters sacrifice their lives without thinking twice and Brad Pitt's character is cheerfully courageous in the face of danger. But their courage doesn't seem to be grounded in human dignity. The film is not so much about rescuing the dignity of the victims but about revenge on the perpetrators. The Basterds don't even plan to escape from the final destruction they are planning for the Nazis. They are going to touch off Vesuvius and die on its slopes in true Nietzschean fashion. The movie devalues human life by portraying bodies as objects of slaughter. Bodies are Tarantinos canvass for carnage. The film is permeated with the sense that since life is meaningless creative revenge is the only way to die.

This is obviously a far cry from the Christian courage that led Dietrich Bonhoeffer to put his life on the line. If we are created in the image of God we may stand for life and die with dignifying courage. Someone has said that "without mysticism man is a monster." Even the good guys in Tarantino's film are monstrous.