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Kundun - Film
Simonthepilgrim
Veteran
As requested, here is a brief review of Kundun, a film about the childhood and adolescence of Tenzin Gyatso, Fourteenth Dalai Lama of Tibet.
This film (1997) operates at a number of levels. It is, first of all, the astounding story of a culture which has now been almost completely destroyed. Whilst not shot in Tibet itself for political reasons, it gives a real feeling for the open plains and great mountains of the Land of Snows. Much of it was shot in Morocco (like The Life of Brian). It is also a spiritual classic, filmed with reverence but without 'religiosity'.
The script by Melissa Mathison can be read, in full, at: http://www.dailyscript.com/scripts/kundun.html
It is based on His Holiness's own, second, autobiography, Freedom In Exile (1990) and, despite telescoping the chronology by a few years, is remarkably faithful to the book.
One aspect of the film which attracted a lot of attention is that Scorcese used unknown actors, most of them native Tibetans, which means that, unlike the disappointing Seven Years in Tibet, one is not distracted by big name/big face stars. The downside of this is that the accents sometimes becaome a little hard to follow; the DVD comes with the possibility of subtitling which is a great help. In addition, there are no gratuitous explanations of Buddhism or Tibetan culture: the audience have to do that work for themselves, which, to my mind gives even more depth to the work.
Those of us who admire Scorcese are aware of the vital role that music plays in his films. If you doubt it, try watching Taxi Driver with sound off and subtitles on! Kundun is, I think, the first film in his work where the music was written to order. The minimalist composer Philip Glass has given us deeply moving sounds from horns, percussion and voices (Gyuto monks).
Comments about the music and tracks can be heard at http://www.filmtracks.com/titles/kundun.html#tracks
More details of the fim are at:
http://www.imdb.com/title/tt0119485/
The final scene, as the young Dalai Lama arrives, very weak and ill after escaping over the mountains into India, moves me to tears every time:
This film so inspired my 9-year-old son that we made the journey to Dharamshala in Northern India to pay our respects to this extraordinary man.
This film (1997) operates at a number of levels. It is, first of all, the astounding story of a culture which has now been almost completely destroyed. Whilst not shot in Tibet itself for political reasons, it gives a real feeling for the open plains and great mountains of the Land of Snows. Much of it was shot in Morocco (like The Life of Brian). It is also a spiritual classic, filmed with reverence but without 'religiosity'.
The script by Melissa Mathison can be read, in full, at: http://www.dailyscript.com/scripts/kundun.html
It is based on His Holiness's own, second, autobiography, Freedom In Exile (1990) and, despite telescoping the chronology by a few years, is remarkably faithful to the book.
One aspect of the film which attracted a lot of attention is that Scorcese used unknown actors, most of them native Tibetans, which means that, unlike the disappointing Seven Years in Tibet, one is not distracted by big name/big face stars. The downside of this is that the accents sometimes becaome a little hard to follow; the DVD comes with the possibility of subtitling which is a great help. In addition, there are no gratuitous explanations of Buddhism or Tibetan culture: the audience have to do that work for themselves, which, to my mind gives even more depth to the work.
Those of us who admire Scorcese are aware of the vital role that music plays in his films. If you doubt it, try watching Taxi Driver with sound off and subtitles on! Kundun is, I think, the first film in his work where the music was written to order. The minimalist composer Philip Glass has given us deeply moving sounds from horns, percussion and voices (Gyuto monks).
Comments about the music and tracks can be heard at http://www.filmtracks.com/titles/kundun.html#tracks
More details of the fim are at:
http://www.imdb.com/title/tt0119485/
The final scene, as the young Dalai Lama arrives, very weak and ill after escaping over the mountains into India, moves me to tears every time:
The Indian soldier steps closer and, knowing he is breaking
protocol, he whispers:
SOLDIER
With all respect, may I ask?
Who are you?
The young man smiles at the Soldier - a man who looks like
the lead soldier come alive.
TENZIN GYATSO
What you see before you is
a man. A simple monk.
SOLDIER
Are you the Lord Buddha?
Pause.
TENZIN GYATSO
I think I am a reflection,
like the moon, on water.
When you see me, and I try
to be a good man, see
yourself
INT. A ROOM IN INDIA, FOOT OF THE HIMALAYAS DAY
Tenzin Gyatso unpacks. He is dressed in maroon robes, his
arms bare.
He places some books on a table next to his tinkering
equipment. He lifts a heavy parcel.
EXT. TERRACE DAY
CLOSE on the young man's beautiful hands as he sets up his
telescope.
The tripod is erect. The body is attached. The eyepiece is
adjusted.
And then, this boy, this man, this simple monk, aims, to
takes a look, at a bigger world.
On a black screen, a card reads:
The Dalai Lama has not yet
returned to Tibet.
He hopes one day to make the journey.
This film so inspired my 9-year-old son that we made the journey to Dharamshala in Northern India to pay our respects to this extraordinary man.
0
Comments
I really liked the movie. I did not know it was based on a book HHDL wrote, it makes it that much better for me now that I've read your review. All the characters were great I thought. Like Simon says though, the accents at times are a bit much but you can get through them. I bought the movie a while ago and watch it quite frequently. Thanks for the great review Simon!
When we asked him, he just smiled, nodded, made a comment in Tibetan to his secretary, who chuckled, and changed the subject. Make you you will of that: he is the most "ego-less" person, yet the most totally present that I have ever met or, I imagine, I ever shall.
On the music, B., we shall have to agree to differ. It is quite true that Philip Glass is not to everyone's taste. One comment on the site to which I linked about the music is interesting in that the writer loved the music as soundtrack but finds it less engaging on its own. I have the CD and I think I would agree: the music is so 'attuned' to the visuals that, without them, it is just too spare.
Speaking of "Seven Years in Tibet" though, I must say that I disliked that movie quite a lot. And I know why; Brad Pitt. I didn't believe a word he said. It was filmed beautifully but spoiled by his overwrought performance. I usually quite like him, but not in that one. I saw it a long time ago but I still vividly remember forcing myself to sit through it just for the cinematography. I love picking movies apart. Can you tell?
Now whether this is all true............I'm not sure. Read it in an interview a few years ago that someone had with Harrison Ford.
Palzang
Palzang