# Kundun (1997)

### reviewed by
Scott Renshaw

KUNDUN (Touchstone) Starring: Tanzin Thuthob Tsarong, Tsewang Jigme Tsarong, Gyatso Lukhang, Tencho Gyalpo, Gyurme Tethong, Tulku Jamyang Kunga Tenzin, Tsewang Migyur Khangsar, Tenzin Yeshi Paichang, Tenzin Trinley. Screenplay: Melissa Mathison. Producer: Barbara DeFina. Director: Martin Scorsese. MPAA Rating: PG-13 (violence, adult themes) Running Time: 135 minutes. Reviewed by Scott Renshaw.

As life goals, serenity and wisdom are noble and admirable. As drama, on the other hand, they leave a _lot_ to be desired. Martin Scorsese's KUNDUN, advertised as "the amazing story of the fourteenth Dalai Lama," is a beautifully filmed and extraordinarily reverent bio-pic. And it's a strong dose of cinematic NyQuil. Though it's bound to please those who admire its subject, other viewers are going to wonder why they should spend over two hours watching a film with only the faintest whisper of internal conflict.

KUNDUN opens in 1937, where a group of Tibetan holy men are on a quest for a very special child: the 14th Dalai Lama, the reincarnation of the Buddha of love and compassion. In a remote village near the Chinese border, they find him, an inquisitive two-and-a-half-year-old (Tenzin Yeshi Paichang) who correctly identifies artifacts from the previous Dalai Lama. The boy is brought with his family to the city of Lhasa, where his instruction begins under Ling Rinpoche (Tenzin Trinley). Unfortunately, it is a time of conflict between Tibet and China over Tibetan sovereignty, forcing the teenage Dalai Lama (Tenzin Thuthob Tsarong) to deal with delicate matters of state. Faced with impending Chinese aggression, the Dalai Lama must decide whether to stay with his people or flee into exile.

The most frustrating thing about KUNDUN is that it's the kind of story I've chastised Hollywood for not telling. Unlike the recent SEVEN YEARS IN TIBET, it is a story set in Tibet which is actually about Tibetans, featuring a cast composed entirely of non-professional actors. That gives KUNDUN a greater sense of integrity, but it does nothing for the dramatic impact of the story. Scorsese has brought together a group of people whose goal is to honor the Dalai Lama with snapshots of his life and his devotion to the welfare of his people. We watch the Dalai Lama learn Buddhist doctrine; we watch him eager to face his responsibilities; we watch him consult with his advisors and make wise, morally sound decisions. What we see scarcely a moment of is the Dalai Lama as an individual. Though he sometimes sees terrible visions, this preternaturally serene teen almost never seems shaken or lacking in confidence. The resulting film is completely faithful, but it moves like a tortoise in need of a laxative. When the Dalai Lama begins looking through his telescope as an adolescent, I started hoping he'd spot Brad Pitt so the production could find some energy.

Eventually there is a bit more interest generated by the Dalai Lama's interactions with the Chinese. The final hour becomes a series of fervent hopes and broken Chinese promises, periodically broken up by an audience with Chairman Mao. Though this ideological battle should provide plenty of chances for strong dramatic sequences, it rarely does. The Dalai Lama is shown in a near-constant state of concern over how his decisions will affect his people, but we get only token glimpses of those people. KUNDUN's most potent moment finds a Tibetan villager, asked by the Dalai Lama how she is doing, collapsing in tears as she mouths a Communist slogan about how "happy and prosperous" she is. Even a few more such moments could have given the suffering of the Tibetan people a face and an emotional connection. This is a history of a repressed people which almost never leaves the confines of the world of politicians.

Martin Scorsese is too talented a director to put together anything that is a complete waste of time. There are a couple of clever moments like the puzzled reaction of the Dalai Lama's older brother when forced to bow to him; Scorsese's regular team, including production designer Dante Ferretti, turns Moroccan locations into a splendid backdrop for the Dalai Lama's life. It's what happens in front of that backdrop which may cause you do drop back in your seat and grab a quick nap. As important a story as KUNDUN may be, the film rarely does more than trudge through fifteen years of Tibetan history, always careful to show the utmost respect for His Holiness. Perhaps Scorsese saw this as an opportunity to make up for his previous attempt at the life story of a revered figure, one which sparked instant outrage. No chance of controversy this time around -- think of KUNDUN as THE LACK OF TEMPTATION OF THE DALAI LAMA.

         On the Renshaw scale of 0 to 10 safe Tibets:  5.

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