# Kundun (1997)

### reviewed by
Sridhar Prasad

    KUNDUN
    A film by Martin Scorsese
    Starring: Tenzin Thuthob Tsarong, Gyurme Tethong, Tulku Jamyang Kunga
    Tenzin, Tenzin Yeshi Paichang, and Tencho Gyalpo
    Written by Melissa Mathison

KUNDUN is Martin Scorsese's return to the somber religious overtones of THE LAST TEMPTATION OF CHRIST, and a film so unlike everything else he has ever done, including the film made preceding KUNDUN, CASINO. Using no Western actors whatsoever, Scorsese steps away from the boundaries of Western civilization, and instead makes a relatively small film about the Dalai Lama, the leader of Tibetan Buddhism, and one of the most revered figures in the world.

Leave it to Scorsese to give himself a challenge. Scorsese was faced with the dilemma of making the culture of Tibet, a visual, aural treat that is so painstakingly detailed that some would find it boring, palatable to Western audiences. Compounding his dilemma was the production of one SEVEN YEARS IN TIBET, a far inferior film starring Brad Pitt (though not as the Dalai Lama- that would have been interesting.) Scorsese's film is about as far away from the Pitt movie as possible: it is slow-moving, much more visual, and more dependant on patience and images than on storyline. 20

The film's storyline is basically simple: it follows the life of the 14th Dalai Lama from his finding at a young age to his escape into India. His Holiness is played by four different monks, each of whom are excellent in their respective roles. The youngest is probably the finest of the group, and he is without a doubt the highlight of the first act of the film. The actors show a tremendous maturation as they progress, highlighting the growth of the Dalai Lama as he progressed in age. In the latter part of the film, the Chinese invade Tibet, and Kundun, the ancient term for the Dalai Lama, is forced eventually to flee.

The script, written by E.T. scribe (and Harrison Ford spouse) Melissa Mathison, is not only slow in development, it is also highly philosophical and experimental. There are several "dream sequences" which are often difficult to follow, and much of the film's power comes from its breathtaking visuals and score. Scorsese lets the film develop without rushing into anything: his cameras are fluid, but not rapid. They are instead an hybrid of the NY style used predominantly by the famed director with a sort of reverent bathing of the Tibetan culture, creating an interesting dichotomy. The visuals are at once personal and extravagant, leaving the viewer an impression not only of the film being a portrait of a man, but a portrait of a culture as well.

Several sequences are absolutely stunning. One in particular involves Kundun standing in the middle of hundreds of monks, dead, as the camera pans back to reveal those the Dalai Lama could not predict. It is a deeply religious, deeply philosophical moment that reveres all which is non-violent, and abhores that whcih causes death and destruction. Scorsese is quite passionate about his subject, and his dichotomy of spirituality and humanity is far better here than in LAST TEMPTATION. 20

The performances of all the players are exquisite. The score, by Phillip Glass, is also outstanding. The movie is, however, a challenging viewing, and the majority of the viewers will describe it as boring. But for the chosen few, KUNDUN is a visual experience like no other. With tremendous artistry, Scorsese is able to transport an ancient culture into the rooms of America. There is so much beauty in even the most gruesome of sequences, so much power in the movements of its characters. It is a slow-moving, sometimes tedious chore to listen to KUNDUN. It is a deeply philosophical movie that can be interpreted as preachy. But KUNDUN is truly none of those. It is instead the ultimate acheivement in the mixture of art, beauty, sound, dance, culture, and history, not a film triumph as much as a culture triumph. KUNDUN may lack a significant plot or buildup, but it exhibits so much beauty, grace, and sheer devastation that it is nothing short of a triumph. One of Scorsese's most challenging, most difficult, and ultimately, most rewarding films, KUNDUN is a true masterpiece.

    ***1/2 out of ****

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