Martin Scorsese wanted to direct "Kundun," the life story of the 14th Dalai Lama, for years and it seems an odd choice for a director famed for
violence and brutality to express interest in the Tibetan Buddhist leader, whose life is about nonviolence and compassion. Not so odd - his movies deal with the intricacies of human behavior as it
relates to violence, and 'Kundun' is about a man deciding how to handle the brutality of others and remain true to himself and his people. Scorsese makes a developmental leap as a filmmaker,
handling sweeping outside vistas and exploring the subtleties of this unusual faith with the skill and eye for detail that makes him such a brilliant director. Hollywood heavyweights convinced Disney
to back this film against China's angry threat to kick Disney out of the country, and Scorsese rewarded their gamble with a historical epic in the league of 'Lawrence of Arabia' but taken to a higher level
for its reverent examination of the Buddhist religion and impassioned criticisms of the Chinese government. "Kundun" is a magnificent epic of good vs. evil, profoundly artistic, moving and impassioned.
It's not for everyone -- a long movie hinging on the political ploys of the Chinese and a man's struggle to protect his people and practice nonviolence
is a big yawn for those preferring snappy romantic comedies or Julia Roberts ditties. "Kundun" demands attention and patience, and delivers stunning rewards. Perceptive screenplay by writer and
co-producer Melissa Matheson (the luckiest woman alive -she penned E.T. and is married to Harrison Ford) uses pageantry and religious rites to invoke the solemn majesty of this retiring and introspective
religion. At times there's just a touch too many flashy costumes, enigmatic rituals and pomp, but the movie as a whole has the stunning beauty of 'National Geographic' vistas in motion. The sheer
mastery of color, movement and pictorial composition lets the eye delight in these remarkable images. The measured pace matches the regal majesty of the subject matter and at times the movie seems too
awash in beauty -- but that's a minor quibble.
The movie begins with the search for the Dalai Lama (also seen in Bertolucci's "Little Buddha"). The screenplay handles the imperious, bossy child
who may be the one with loving humor. Scorsese handles the monk's testing of the child with nail-biting suspense and shows us how important this child's life is to his followers. As he grows, we
get a primer lesson in Buddhism, the workings of the monastery and the upbringing of a small child believed to be a spiritual leader. Tibetan monks believe it is their duty to love every living being
with compassion, and their religious devotion keeps Tibet isolated and distant from the rest of the world (Tibet was the model for 'Shangri-La'). We see bits of information about World War II as the
intellectually inquisitive Dalai Lama listens to shortwave radio and asks hard questions about Tibet's geography and allies. This holy man is no fool, and his quiet determination to reform his country
and ensure its safety is shown with an increasing sense of urgency as the outside world begins encroaching on Tibet. China destroys Tibet's serene peace, sending Communists with blaring propaganda into
the country. You'd never know this is Scorsese's first try at handling big epic pageantry, his sure handling of these scenes is impeccable. The film accelerates as the Dalai Lama is forced to
deal with a hostile force against impossible odds. The people rely on a young man to protect their entire country because they believe he has a soul and wisdom thousands of years old, and this
one man is responsible for a religion and a country. Delicate maneuvering with the Chinese doesn't work, as a hammy Mao Tse-Tung makes his intentions plain in a weirdly goofy yet menacing scene.
The pressure is on as Chinese atrocities are detailed in a very discreet yet heartbreaking sequence, as Scorsese one-ups the famous aerial shot of wounded soldiers from 'Gone With the Wind' in a spectacular
tour de force of painterly beauty expressing stomach-turning violence. Scorsese's ability to infuse silent shots with emotional power is astonishing. There is no way you can't feel sympathy
for this man and indignant rage at the Chinese government, especially when he makes an escape by night disguised as the enemy and must pass through legions of his frightened people, knowing he may never
return. "Kundun" ends on a note of hopeful anticipation, and this deeply felt movie about good and evil, dedicated to Scorsese's mother, is a wake-up call to the rest of the world to save this unique
culture.
Costume and production design by Dante Ferreti is a knockout. Famed avant-garde minimalist composer Philip Glass contributes a spare, otherwordly score that heightens the impact of this
artistic tour de force. All the performances are very good, especially the baby and adult Dalai Lamas (whose names were too long for me to remember). The actor playing the adult Dalai Lama is
serene without being boring, strong without force and expresses the conviction and dignity of the real man -- a most difficult feat and a bullseye performance. Other notes: the swastikas on
ceremonial robes are not Nazi symbols -- the swastika is one of the most ancient and sacred religious symbols, co-opted by the Nazis for its inherent power. The sand painting seen in the opening titles
and later in the film is symbolizes the impermanence of the physical world. These paintings are created and destroyed upon their completion to show the transience of the material world (a central tenet
of Buddhism is that attachment to the material world is the cause of all suffering). Photography is stupendous, I can't gush over it to even begin to address its breathtaking beauty. The physical
world is always prominent during this film, to emphasize Buddhism's reverence for all life, and the nearly unreal beauty expresses the strange dichotomy of this religion where all life is precious yet the
material world means nothing (this is why the father's body is taken to the vultures). Scorsese gets the tone of the film right -- there's a sense of confident serenity throughout and the film has a
feel of respectful awe.
The Dalai Lama has harnessed the considerable powers of the entertainment industry, spearheaded by Richard Gere's work, in his quest to free his people. You'll receive an
information packet with a postcard addressed to Clinton after you see this film, and it would be great to send it off. Hollywood's clout has already engineered more positive movement from China on
Tibet's freedom than years of political floundering and "Kundun" is a powerful statement on behalf of the Tibetan people. A stunning artistic achievement, with Scorsese using all his strengths
and finding a new energy in this story of good battling evil. Highly recommended.
I cried for 10 minutes in the theatre bathroom after this film was over, and I wasn't the only one.
A heartbreaking, courageous, impassioned plea delivered in the glorious medium of cinema. |
