（ネタバレ注意）それでも人生にイエスという

今週ララランドと沈黙を見てきました。壮大なネタバレはないのですがエンディングの話に少し触れるのでこれから見に行く人はご留意ください。



このロサンゼルスタイムズの評者が語るようにどちらも満足な出来でした。VEフランクルの本は『夜と霧』すら読んでいないのにタイトルに借用しましたが（汗）両方の映画の感想を端的にまとめていると思ったからです。ララランドは想像に反して典型的なハッピーエンドとはならなかったんですが、最後に二人が目を合わせてうなづくシーンはまさにそんな感じでした。



同じ評者は沈黙も絶賛しています。もちろん深刻さに違いはあるんですがアンドリュー・ガーフィールド演じた宣教師の生き様をスコセッシ監督は肯定的に捉えて映画を締めていたように思えました。まあこの言葉はどんな映画の感想にも使えそうなんですが。。。（滝汗）

信仰心の薄いYutaのような人間は沈黙に描かれた背教した宣教師を受け入れますが、宗教関係者だとそうはいかない人もいるようです。例えば下記の動画。どうして沈黙はキリスト教の映画ではないのかと説明しています。どんなに苦しむとしても背教はeternal salvationを求めた生き方ではないと戒めるのです。



この動画の概要説明で紹介していた記事でも同じようなことを書いています。確かに個人の心に秘めた信仰でいいことを認めてしまえば制度としての宗教の存在意義はなくなりますから、彼らの立場上このような映画を到底認めるわけにはいかないのはわかります。

Christus Apostata: Scorsese’s “Silence”
Brad Miner
MONDAY, DECEMBER 26, 2016

Endō was a Catholic convert, and it’s fair to wonder how complete his conversion was. Martin Scorsese is a cradle Catholic who, despite meeting with Pope Francis during promotion of his movie (which premiered on December 23rd), shows no signs of being a faithful Catholic.
（中略）
Scorsese’s Silence is not a Christian film by a Catholic filmmaker, but a justification of faithlessness: apostasy becomes an act of Christian charity when it saves lives, just as martyrdom becomes almost satanic when it increases persecution. “Christ would have apostatized for the sake of love,” Ferreira tells Rodrigues, and, obviously, Scorsese agrees.

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SCORSESE’S “SILENCE” AND THE SEASIDE MARTYRS
by Bishop Robert BarronDecember 27, 2016

My worry is that all of the stress on complexity and multivalence and ambiguity is in service of the cultural elite today, which is not that different from the Japanese cultural elite depicted in the film. What I mean is that the secular establishment always prefers Christians who are vacillating, unsure, divided, and altogether eager to privatize their religion. And it is all too willing to dismiss passionately religious people as dangerous, violent, and let’s face it, not that bright. Revisit Ferreira’s speech to Rodrigues about the supposedly simplistic Christianity of the Japanese laity if you doubt me on this score. I wonder whether Shusaku Endo (and perhaps Scorsese) was actually inviting us to look away from the priests and toward that wonderful group of courageous, pious, dedicated, long-suffering lay people who kept the Christian faith alive under the most inhospitable conditions imaginable and who, at the decisive moment, witnessed to Christ with their lives. Whereas the specially trained Ferreira and Rodrigues became paid lackeys of a tyrannical government, those simple folk remained a thorn in the side of the tyranny. 

I know, I know, Scorsese shows the corpse of Rodrigues inside his coffin clutching a small crucifix, which proves, I suppose, that the priest remained in some sense Christian. But again, that’s just the kind of Christianity the regnant culture likes: utterly privatized, hidden away, harmless.  So okay, perhaps a half-cheer for Rodrigues, but a full-throated three cheers for the martyrs, crucified by the seaside.