Customer Reviews

Kundun (Widescreen Edition) [VHS]

5 star:		(106)
4 star:		(37)
3 star:		(15)
2 star:		(9)
1 star:		(6)

 

 

One of the beauties of KUNDUN comes from the way it preserves and recreates a culture that is now almost extinct, of a Tibet which is now almost completely destroyed. And it is a beautiful culture, where almost every detail is related with spiritual value, the very values that our contemporary culture is in the verge of completely losing them, yet still so essential to human life. To see this film is, first and foremost, like a meditation.

Dante Ferretti's design recreating faithfully the traditional costumes and building with a great reality, with Roger Deakins beautiful cinematography (which depth, nuances and richness of colors are so beautifully transferred on this DVD), as well as Philip Glass's music, make KUNDUN a visual poem. Also must be noted is Thelma Schoonmaker's complex editing which explores and reveals the complexity of the story and giving them a beautiful, almost musical rhythm. According to Mr. Scorsese, the climatic Sand-Mandhala montage sequence that cross-cut the Dalai Lama's exile to India and a religious ceremony was her idea, and it brings the film up to an incredible spiritual level. Yet, Scorsese does not show Tibet as an idyllic and idealized society. By using the young Dalai Lama's point of view as a narrative strategy throughout the film, by showing almost everything through his eyes, the film also glimpses at the complexity of the Tibetan society and its own problems; "I didn't know monks has guns" "Is there a prison in Potala" says the 12 years old Dalai Lama.

Violence, or human pain to be more exact, is also present in this film. An amazing nightmare sequence shows the Dalai Lama in the midle of thousands of dead monks. A typical Scorsese image? Well, in fact, it is a faithful recreation of a dream that the Dalai Lama himself has told the filmmakers. In this sense, KUNDUN is also a documentary as much as it is a beautifully created dramatic piece. A particulary poignant moment is when the Dalai Lama gives audience to his people, an old woman starts saying something in Tibetan, as if she was posessed by her traumatic experience. This scene, according to Mr.Scorsese, actually happened as they started to shoot the scene. They put a photo of the real Dalai Lama, and the woman started to talk like that. All the filmmakers did was to film her, and leave it as it is in the film, without even a translation. We can't tell what she says, but we understand the deep sorrow, the truth of her emotion. This is indeed one of the most emotional scene Scorsese, the ultimate filmmaker of emotiin, has ever presented us.

As different as it may seems on the surface level, KUNDUN also explores the familiar Scorsese themes, of the dilemma between religious spiritual values of human trying to be good, and the harsh reality of the world they live in and their own human vulnerabilities inside them; a conflict that has been always present in his films since WHO'S THAT KNOCKING ON MY DOOR and MEAN STREETS, the dilemma that drove Travis Bickle to a burst of bloody violence, the demon inside that Jake La Motta had to fight, the conflict of divinity versus humanity in Jesus.

But KUNDUN takes a different direction. Instead of being obsessed with his own dilemma that drives him near self-destruction (as did so many Scorsese heroes), the Dalai Lama goes beyond that to become the human incarnation of not divinity, but of ultimate compassion. It is amazing how, after witnessing so much violence and anger, he could reach such a state of peace in mind.

Most of the people in the film are non-actors; real Tibetans (the Dalai Lama's mother is played by one of his own niece), and though their performance are not as dramatic as De Niro, Keitel, Pesci, Dafoe, Day Lewis and Pfeifer et all, they bring a truthfulness to the screen.

Mr.Scorsese told me in an interview last year "It was almost like a prayer to make this movie. And my life has changed, to certain extent". I believe this film has the same effects, to certain extent, to us viewers as well.

The film also carries an important political-- Mr.Scorsese says he prefer the word "human"-- message: "Non-violence is the only revolutionary idea left to us", says Martin Scorsese.

Having read the previous 49 reviews, what can I add? There are maybe three ways to review a film: on craft (how the film medium is used), on content (is this story worth telling?), and for a "true story" film, is it true? If you are a student of film (officially or not) and know something about Scorsese, you MUST see this film. Very, very few films since the invention of "talkies" have used the medium as brilliantly. Mathison's script, Glass' music, Deakins' cinematography, the incredible amateur acting: On the craft score, this is Scorsese's greatest work. The story of a young boy raised to be the spiritual - and forced to be the political - leader of his country may not attract everyone. There's nothing for it: that is the storyline of one of the greatest films ever made. As for "true stories," one reviewer compared Scorsese to David Lean, who made "Lawrence of Arabia." As a lifelong student of history and cinema, I can say that all "true stories" must compress events and characters, must make one incident or one dialog stand for many, and that all must be colored by the historical viewpoint of their tellers. Both David Lean and Martin Scorsese have clearly tried to capture their subjects sincerely and represent "truth" with all their skill and within the limits of their medium. Scorsese has let the Tibetans tell this story through him. Buddhists can usually be counted on for greater than average objectivity. From everything I have read and all I have talked to about Lawrence and about Tibet, Scorcese has done a far better job of representing history than Lean. If you have any interest in film or Tibet, see this in widescreen. It will almost certainly be the best film about the Dalai Lama ever to be made.

I'm really happy to see so many positive reviews for this movie. Martin Scorsese. Phillip Glass. The Dali Lama. How can you go wrong? I remember watching this the first time and liking it, but feeling that it lacked cohesion. It does take awhile for the Kundun to mature to an adult so we can identify with him and care about him.

But now I look at the film as being almost two separate parts. The first half shows us the Dali Lama as a child who must take on the role of Kundun and gives us a very slow (and beautiful) sense of environment and atmosphere. It also quietly sets up characters that will grow in importance as the film continues. The second "adult half" of the movie focuses on the Kundun having to deal with an aggressive communist China closing in on him and his people.

I feel like many people (including Ebert who said this is the only Scorsese movie he would not want to see again...) watch it once and say it was slow and they didn't care about the Dali Lama character enough. Well if you only watch it once you won't be able to see the detail (like the shot of the Kundun looking at Mao's shoes, or the baby Kundun separating the fighting beetles) , and depth that make up the fabric of this movie. There are all kinds of great shots and quick edits (the 3 seconds of violence in this film are more powerful then the lengthened violence in other films), and symbolism that you simply can't get your mind around the first time you watch this movie. Having said all of that, the cinematography alone would make this movie worth getting. And at $10, you make out like a bandit.

The majority of director Martin Scorsese's best liked movies have been about criminals or about people full of anger and potential violence. These include "Casino", "Goodfellas", "The Color of Money", "Taxi Driver", "Mean Streets" and his masterwork, "Raging Bull". He also made the brilliant, turn of the century romance, "The Age of Innocence".

"Kundun" is his second attempt to tackle a spiritual subject. The first was "The Last Temptation of Christ", arguable the most controversial movie ever made about Christianity. It was so provocative, at least in theory, that it was never shown in many cities and towns.

Covering the life of the last Dalai Lama of Tibet from childhood to his exile, "Kundun" created a controversy of a different sort. It was deemed politically incorrect. Several decades ago, Tibet, which for a thousand years had been independent and peaceful, was taken over by the Communist Chinese. They slaughtered many civilians, as well as Buddhist priests and nuns, claiming they were simply taking over a distant part of China. The survivors were 'reeducated.' Today, Tibet exists only as a mythical, fabled land , which was ruled by the Dalai Lama, its spiritual leader. The people believed that this man was reincarnated over and over again. Whether you believe that or not, the important thing is that Tibetans believed that all problems could be solved by peaceful means.

Because China, as well as the rest of the world, are so much changed these days, the making of this movie was deemed by them to be insulting. In truth, "Kundun" dwells on the end of grand traditions more than it does on the moral values of the invaders. So, I suppose the controversy arose because, while China has changed drastically, it has no intention of letting go of Tibet.

It is an unusual motion picture, taken down a notch or two for a reason I will get to in a minute.

You will note that I have listed no cast credits. The posters for the film didn't either. This is because Scorsese, attempting to be as faithful as possible to the story, cast mainly actors of Tibetan heritage. These people came from two acting groups, one in New York, the other in India. The main character is well played by Tenzin Thuthob Tsarong. Since all of the names of the performers are equally exotic, they would be meaningless in selling the film to the public.

Philip Glass, a renowned composer of modern classical music, wrote a film score that fits exactly what the stunning visuals show.

From the standpoints of photography, music, and set and costume design, the film is a work of art. Unfortunately, Scorsese, like many other famous directors, took on a story which he appears not to have known how to approach. Steven Spielberg had the same problem with "Amistad", only to turn around and unleash the astounding "Saving Private Ryan" on an unsuspecting public.

In "Kundun", I felt that all its beauty could not overcome Scorsese's inability to bring real emotional power to subject matter that demanded him to do so. This makes it rather like an elegant coffee table book. That's the heavy, oversized kind of book filled with stunning photos and art. People rarely read the text in such a volume. With this movie, it is difficult to tell whether the its artistic merits overwhelmed the story or whether the story would have come off even less involving without the lavish trappings.

I worked on this film while I was an executive at Disney, so I am of course biased. I believe this will be seen as one of Scorsese's most important films. It deals with themes that have preoccupied Scorsese from the start: religion, death, violence, morality. It is a film about how to deal with violence when your culture views non-violence as the supreme good. The temporal structure of the film tries to convey the importance of Tibetan's view of time -- their belief in reincarnation and their circular view of time. It connects these ideas with their moral worldview - it is very subtle, but -- at the risk of sounding pretentious -- very profound, the kind of thinking one rarely sees in movies anymore. David Lean/Robert Bolt time. The fact that this movie was largely overlooked during the Oscars says more about the Academy than Scorsese. The Academy ignores films that are not commercially successful, and KUNDUN was basically buried by Disney because they had been threatened by the Chinese with commercial reprisals. It was not hard to do. This is not an easily accessible film. There are no stars. The actors are all real Tibetans. A remarkable achievement. THeir performances are more honest than 99% of what you'll see in you average movie. In addition to being my favorite film, working on this movie will be a personal experience that I will never forget.

While Buddhism is often little more than an Orientalist fascination with many Americans, "Kundun" is one film, despite its hint of shangri-la reverence, which successfully depicts the core values of Buddhism--nonviolence, compassion, discipline--in a truly positive way. A far better film than the ambitious but ignorant "Seven Years in Tibet," this surprise wonder from Martin Scorsese harmonizes a breathtaking tapestry of art, color, and landscape with a soaring score by composer Philip Glass. Although the Dalai Lama is not completely depicted as an everyday man, the actors portraying him exhibit an infectious and stoic charm. As a young Buddhist myself, I was touched by the film's many observations of human life, and was moved to tears by the measured depiction of Chinese cruelty against the Tibetans. Many lines are taken directly from actual Buddhist prayers and are delivered with sincere inspiration. Although the film may be difficult to follow for those unfamiliar with Buddhisms core tenets, it is nonetheless a visual and emotional experience. One need not know the symbolism of sand mandalas to savor their image draping across the screen like bright rainbows. For those who are curious to learn about the Dalai Lama, as well as the plight of the Tibetan people, "Kundun" will no doubt be a worhthile and unforgettable experience.

I saw this movie and was stunned by it. Those who critisize it do not realize what the film is trying to do.It is not trying to explain the inner political workings of the Tibetan religion and government. It is the spirtual journey of the Dali Lama untill the time he leaves Tibet.The film has also been critcised for concentrating more on the visual than character side of the story. This again is not an accident. The beautiful cinematography and music all help in telilng the spiritual journey of the Dali Lama.Many also found this confusing, with art being used over content but isn't that what 2001 does?

The story begins with the search for the 14th Dalai Lama. When the 13th Dalai Lama passed away in 1933, the task of finding the new successor by the Tibetan Government was not as simple as one might think. The Government does not just pick a successor but they actually seek out to discover a child in whom the Buddha of compassion would incarnate. It was not necessary that the child should have been born just at the time of the death of his predecessor, or even soon after, they would be indications of the direction in which the search should be made. The child would be found to possess physical and mental attributes similar to those of the previous Dalai Lama.

When the regent of Tibet arrived at the predetermined destination, that is thought, might lead them to the 14th Dalai Lama they encounter a family that possessed a small child that fit the profile. The Party of Tibetan dignitaries went into the house with Kewtsang Rinpoche (High Lama of Tibet) disguised as a servant and a junior official disguised as the leader. Rinpoche was wearing a rosary which belonged to the 13th Dalai Lama, and the little boy recognized it, and demanded that it should be given to him. The rosary was even hidden to the child under numerous garments but somehow he still knew it was there. The boy also picked out the disguised leader by name as if he knew him and also knew he was the true leader.. This was followed by a series of tests which included choosing of correct articles which belonged to the 13th Dalai Lama. By these tests, they were further convinced that the reincarnation had been found.

The movie takes us through the young years of the Dalai Lama (which happens to mean ocean's of wisdom) and is to be some of the most trying times in Tibetan history. In 1950, when he was only 16, the Dalai Lama was called upon to assume full political power when Tibet was threatened by the might of China. Invasion of the Chinese to, "liberate Tibet from the plague that is Buddhism," and try to convince that the people of Tibet that they need reform. The Chinese kill monks, slaughter women force the children to kill their parents and force nuns and monks to fornicate in the streets.

The Young Dalai Lama is forced to either succumb to the rein of the Chinese and denounce their religion and culture or stand and fight which is a contradiction of the teachings and beliefs of the Buddha. Even if they fight, Tibet only had 5000 solders with primitive weapons, no match for the military power of China.

Kundun (literally meaning "presence".) is the most underrated movie ever directed by Martin Scorsese. Such a powerful film that the Chinese government has since banned Scorsese and crew from ever entering Tibet again. If you watch this movie the first thing you notice is how the cinematography and the images really make the movie. The second thing you will notice is the haunting score. Many scenes have sparse dialog and are really told by the sequence of shots. Scorsese directs shot after shot in a melodic pattern to guide the viewer though the story. You know what's going on even with little or no dialog. Every shot in the movie has a purpose and is executed artistic and masterfully.

An excellent account of the true story of the fourteenth Dalai Lama and the plight of Tibet to remain a free country ( and hopefully again) This was a time after WW2 where no one wanted to get involved and no other country or government came to the aid of Tibet even after countless pleas by the Dalai Lama himself.

No big name movie stars but powerful acting. The movie is a well woven story that really opens one's eyes to the plight of a different culture. At times it might be misunderstood and look to be "dated" but at further study you see that the way of the Tibetan people was one of true honor, complete dedication to ones beliefs and sacrifice of greed and personal successes in search of enlightenment for the betterment of an entire culture, not just person gain... Living each day practicing the belief that all life is important. It's a shame that this way of life might be one that is lost to us forever and vary rarely is taken seriously by most 21st century idealist.. It's also a breath of fresh air to witness a positive religious expericance compared to today's world of so many fanatical type religious factions that have undermined laws and peoples personal freedoms. Most people today witness countless "god fearing people" contradicting their own teachings with every breath they muster.

This is a beautiful film. The cinematography and narrative device of having specific moments of being that are significant, the incredible use of language to convey spiritual and emotional truths, and a director that can weave actors w/ monks untrained in this craft all combine to create a brillant piece about an often referenced but misunderstood man, the Dalai Lama, in which he is treated w/ such emotional depth, such personal commitment.

Right from the beginning I was gripped by how the film portrayed the young boy proving that he was Kundun reincarnated. This was done w/ such a mixture of playfulness, intrigue, awe, and beauty. It set up a film that would challenge some of westerns preconceived notions of reality.

I really admire Mathison's script which i feel has a big impact on what Scorcese was able to do w/ this material. She wrote a compelling piece, and collaberated w/ the Dalai Lama to produce a work that would not simply be historically accurate, but emotionally true and evocative. Scorcese and the cinematographer did incredible work to make the film as beautiful and authentic as the script. Each individual frame is compelling and carefully constructed, exuding meaning beyond the spoken. This film is not only beautifully done, it is meaningful in spiritual and emotional sense. The film sends shivers through my body. It motivates me to act on my convictions, to stop allowing things to be glossed over, and to seek out the truth and true enlightenment. It offers too a glimpse of hope that there is truth compassion, brillance, beauty and understanding in the outside world and a possiblity for change. It offers a hand reaching for yours to take you on a new path that defies conventional rules.

When the hollywood movie industry and America in general is trying to appease the Chinese government for economic gains, it took a lot of courage to take this subject on and make the movie. It's very commendable of Scorcese. No wonder Hollywood spurned it at the Oscars. At the very least there is a lot of unique, stunning, and ground breaking style and imagery in the movie that the subject brought out. But then this movie isn't for everyone. I've been in interested in Tibet since I was very young and I don't think this movie was intended to be a history lesson, but rather a tribute and representation of a unique spiritual life. The Dalai Lama is an inspirational human being and leader and it's great to see a movie on it that just has tibetan actors. It is hard to compare the real Dalai Lama with the young character in the movie, but one has to realize the burden on young shoulders of having to choose the method of saving his country and people.