Alexi Sargeant has one of the best responses to Scorsese’s adaptation of Silence I have yet seen–really, go read the whole thing.
I do have one quibble, though. (All right, one big one and one little one.) Here it is:
In his discussion of Silence, Scorsese recapitulates the way he portrayed Judas as a collaborator in Jesus’s sacrifice in his own The Last Temptation of Christ (1988)—projecting his particular interpretation of Judas as pseudo-saint onto Endo: “In order for Christianity to live, to adapt itself to other cultures and historical moments, it needs not just the figure of Christ but the figure of Judas as well.” This image of Judas is far afield from the Christian tradition that formed Endo and his protagonists.
Sargeant wants to give Endo too much credit for orthodoxy, or those who taught him too much credit for sound formation. It’s not Scorsese who infuses the suggestion that Judas is embraced as a collaborator in the work of Christ into Endo, though that is obviously the major connection between the two movies Scorsese has called “bookends” of his career, Last Temptation and Silence.
It is true that this is far from the Catholic faith, Endo’s baptismal faith; but it is inaccurate to view this as far from Endo’s practical belief and expression. Even in Silence, this is obvious enough; but if you need it spelled out, go look at Endo’s radical rewriting of the Gospel accounts, A Life of Jesus. It is just barely possible to differentiate Endo’s view, which is ambivalent about whether this reductively human Jesus positively intended or merely factored in the actions of Judas, but Endo’s take clearly interprets “Jesus loved Judas” not as meaning “Jesus embraced Judas in human-divine friendship that could lead Judas into perfect charity with God and other people” but “Jesus expressed to Judas human sentiments of caring and concern.”
Because the second of these is merely sentimental, it is possible to imagine Jesus continuing to express these sentiments, even by dying, even when Judas rejects him; and if these expressed sentiments are the sum of the meaning of Christ’s atoning work, then of course Judas in betraying Christ makes the expression all the more dramatic–so why not portray Judas as a collaborator?
Of course, if you actually believe that God does real work that really happens in life and history, transforming “whosoever will” into not only objects of concern but reciprocating subjects of true friendship, creating perfect charity where enmity and amity had contended, you will not at all be able to agree that betraying Christ to death and committing suicide out of remorse can be evaluated merely in terms of their dramatic potential; you will not evaluate the life of Jesus merely as a performance expressing a sentiment.
Anyway, Sargeant is right on the point, but I thought it worthwhile to note that Scorsese doesn’t insinuate this theme into Endo; it is already part of Endo’s evolving agenda when he writes Silence.