SILENCE AT BETHANY
A film review by Jeff Meyer
Copyright 1988 Jeff Meyer
[Actually, it's been about a month since the Seattle International Film Festival ended; I've been busy with other matters and haven't gotten a chance to get the rest of the Film Festival reviews out. Hopefully I'll have the rest written by July 4th. -moriarty]
SILENCE AT BETHANY (US, 1987)
Director: Joel Oliansky
Screenwriter: Joyce Keener
Cast: Mark Moses, Susan Wilder, Tom Dahlgren, Dakin Matthews,
Richard Fancy
There are things to look for in the SIFF schedules. One of the better signs, at least for me, has been that the film is an "American Playhouse Theatrical Release," i.e. sponsored by the PBS television program of the same name. These are released in theaters first, then on TV (the one that comes to mind is A FLASH OF GREEN). They are almost always understated, intelligent dramas that involve one intellectually as well as emotionally. SILENCE AT BETHANY is no exception.
The film takes place in a Pennsylvania Mennonite community during the early 1940s. A young man named Ira Martin (Mark Moses) who grew up in the community (but left to live with relatives out-of-state when his parents died in a fire) returns to visit. The simple, non-materialistic lifestyle appeals to him, as does the local deacon's niece (Wilder). In turn, the deacon sees Ira's spiritual knowledge and enthusiasm for the church as factors that would make him an excellent preacher for the community.
His assessment turns out to be accurate; after marrying the niece, Ira becomes a model preacher, giving excellent sermons and supporting the members of the community. However, he begins to conflict with the deacon's strict ideas about the interpretation of the scriptures in daily life; and the Mennonites (at least in this film) consider conflict within the community (at least public conflict) an extremely traumatic event -- something to be avoided at all costs. How Ira, his family and the community deal with this conflict is the kernel of the plot, and it is certainly intellectually involving.
One of the more refreshing elements of SILENCE AT BETHANY is in how the Mennonites are portrayed. Films like WITNESS always portray Quakers or Mennonites as spiritual hermits, constrained from emotions and habits which are considered "normal" by most of us by their faith and customs. All the characters in SILENCE AT BETHANY lack the Cecil B. DeMille oratorical hang-up; they discuss love, necking and each other with the candidness you would expect from people living in a farm community. Really, the film centers on how the traditional customs of the community that do exist can survive in post-war America. None of the characters are stereotypes; both Ira's and the deacon's motives are partially out of pride -- much of the film examines where principals leave off and personality begins. And the deacon is never shown as wind-up zealot; he is concerned with the best way to run the community, at a time where the Mennonites' status as pacifists is coming under fire from the local draft board. The characters in the film often mention relatives and friends who have left the community for another Mennonite settlement due to a disagreement with the Elders; it is considered better to leave the people they have grown up with than to live in disharmony with their church. The film illustrates just such a case with a fine sense of detail and subtlety.
As to the film itself, the casting stands out more than the acting -- each member of the cast seems perfectly suited to their role, though none stand out over the others; this is an asset to a film so absorbed with the idea of community. I particularly liked Ira's wife's father, the brother of the deacon; he provides a character who mediates well between the various characters while maintaining the common-sense nature you often find in farmers. The film is shot in Pennsylvania; while the photography is never exceptional (it has that American Playhouse feel to it), it works very well with the everyday lifestyles of the characters. The music is really poor -- better-suited to a film about concentration camp living than a fairly pleasant rural settlement. The composer is Lalo Schifrin, a man reknowned for spoiled film music; in 30 years, he'll only be remembered for the theme to MISSION: IMPOSSIBLE, and it'll be to his benefit.
In summary, while this film won't get your blood rushing or involve you emotionally very much, it is an enjoyable, engrossing 90-minute film. Since it will probably be on television in a year or two, sans interruptions on PBS, I recommend you scout your TV listings rather than your local theaters.
Moriarty, aka Jeff Meyer
INTERNET: moriarty@tc.fluke.COM
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