Customer Reviews

Siddhartha

5 star:		(12)
4 star:		(7)
3 star:		(6)
2 star:		(2)
1 star:		(8)

 

 

If you have read the book by Herman Hesse and loved it, you will most probably love this film too. It is a good attempt to transfer Hesse's philosophical treatise to screen - and any attempt at transmitting such writing is bound to fall short in some ways to some people. Some of my 'favourite bits' were cut, but overall I love the film and will be watching it again.
HOWEVER
if you have not read the book, then I recommend you read it before watching the film; otherwise it may seem disjointed.
Also, you will then realise that Siddhartha is NOT the buddha - that he was a seeker after truth, -until he gave up seeking- and would accept no other persons version of truth - not even the Buddha's (who he meets in the film). (The experience of realisation is incommunicable).
Those who 'follow' or 'belong', -Buddhists or prospective Buddhists - would do well to "follow" Siddhartha's example as even the Buddha in the Pali canon states: 'accept no teacher, follow no one, rely on your self'. Hesse's Siddhartha essentially is expounding the philosophy of Advaita, or nonduality.
I suspect this explains some of the 'misconceived' reviews below.
Picture quality: although the film was made in 1972 it has been expertly restored and whoever has done the transfer to dvd did a good job because the picture quality is better than many transfers of more recent films.
Recommended

Since your initial desire to see this film is because you fell in love, as I did, and countless millions, with Hesse's novel, there is no need to go over the plot. Having waited for so long for this film to make it to DVD, I was immensely disappointed, even a little peeved, when I finally got to sit down and watch it. Here's why: Although the film was beautifully shot, great cinematography does not a good film make. All of the scenes are flat and utterly fail to capture even the slightest essence of what Hesse sublimely achieved in the book. As the writer of the screenplay, Conrad Rooks missed the boat entirely. For example, when Siddhartha confronts his father about striking out on his own, the scene is this quick ping-pong typ of edit between the father and son; it's over in a flash and you get no idea about the struggle or the love that either one feels. No dramatic tension, no cost, and hence no pay-off whatsoever. One of the most beautiful moments in the book is when Siddhartha meets Kamala at her palace. Again, 99.9% of the essence of the scene Hesse created is just omitted or forgotten by Rooks and the actors in his film. And the dialog that is in the script seems like it was just lifted haphazardly from the novel, without any true understanding from either the director or the actors about what it means or what's truly going on. Flat, flat, flat!Unfortunately, the film gets no help from the actors. Sashi Kapoor as Siddhartha seems lost (as the actor) and utter lifeless. And there was absolutely no chemistry between him and the actress playing Kamala. The only scene that even gets close is when Siddhartha meets the Buddha in the forest -- and the wonder of that scene is achieved from the voiceover Buddha, who you do not even see on the screen. The music in the film is very good however, but again, that is just not enough. Sadly, the weakest links in the film are the director, his screenplay, uninspiring actors and an inability to direct those actors. In the end, Conrad Rooks' Siddhartha is a major disappointment. A remake that does Hesse's book justice is long overdue, and I do not recommend it. I feel that Bertolucci's "Little Buddha" with Keanu Reeves as the historic Siddhartha (Gotama) fully achieved and captured the beauty, mystery and transcendence that is on the spiritual journey.

I first saw this movie on television in the UK in the late 1970s. I remember being non-plussed by the first thirty minutes or so of the picture but, to be honest, I was more of a fan of action TV and comedy then. As the story progressed I became more and more entranced by the tranquility of the film, I also felt as if many of the struggles the leading character was facing echoed the changes I was undergoing in my own life at that time. Were I a man of literary leaning or a devout and knowing Buddhist I may have seen the faults that other reviewers have pointed out but, as a "simpleton" in these matters, I remember finding the film to be simply and truly moving.

The spirit of the film remained with me lifelong and I felt driven to enquire if the film was to be released on DVD. I was delighted to discover that the release was imminent. While waiting I dutifuly read the book and was delighted that the story was still so familiar.

Twenty five yeas later the film does not dissapoint. Occasionaly it is a little strident in an architypal 70's way but, other than that, it remains quite enchanting and a tribute to the plaintive existence.

Wow...how can I even find words to talk about this film? From start to finish, I felt like I was in swept up in a meditative state--the captivating music of Tagore's poetry, the beautiful cinematography, and the quiet simplicity of the film. I suddenly found myself on Siddhartha's same journey, the quest of who am I and what am I doing here? And in the end, I felt totally complete--with all the answers and none at the same time. Some have said "there is not enough" in this film. Not only do I disagree, but I think that's the whole point! In an age where we are bombarded by special effects and other distractions, what a delight to see something that is not "trying" to be something! It just "is"--and leaves it up to you to see the beauty, which is abundant for all the senses. Again, it is an adaptation so of course not everything can be included, but I felt Rooks "kept it simple" in Buddhist style and I didn't miss a thing. Everything I needed to see and hear was there. Also thought the casting was perfect--Shashi Kapoor dead on as Siddhartha and I thought had great chemistry with Simi Garewal who plays Kamala.

A special note about the bonus features: Don't miss the interview with Conrad Rooks! That was almost as enjoyable as seeing the film itself--his synchronistic and humble tale of how the film overcame substantial obstacles to finally be made. I don't think I've ever heard as much behind the scenes info on a film! You're on the edge of your seat to hear what happened next....

Truly amazing, a delight for the senses. I can't even think of anything I DIDN'T like from this film--it did that much for me. I felt totally at peace. If you are spiritual at all and open to someone else's interpretation of the book, you will not be disappointed!

Enjoy!

1. The plot. The Nobel prize winner, Hermann Hesse, wrote Siddhartha in 1922. It is a novel about Eastern spirituality (many Indian scholars consider it as one of the few succesful examples of Indian philosophy presented by a Western author). Siddhartha is one of the names given to the Buddha himself. The novel narrates the pilgrimage of the son of a Brahmin, his struggle to find his own destiny; his friendship with Govinda (his "shadow"); his encounters with many different people: the Samanas (the ascetics that practice self-denial); Kamala (a courtesan who claims that she can teach and provide love as an art); Kamasawami (a rich merchant who becomes his boss); and Vasudeva... - note Vasudeva is another name given to Krishna, the teacher/driver of Arjuna in the Bhagavad-Gita).

2. The Movie. In 1972, Conrad Rooks (an almost unknown movie director who made "Chappaqua" in 1966) came out with a 94-minute movie transcription of Hesse's novel. He engaged Sven Nykvist (the famous Swedish cinematographer of Igmar Bergman) and a mainly Indian cast, including Shashi Kapoor (Siddhartha), Simi Garewal (Kamala), Romesh Sharma (Govinda) and Zul Vellani (Vasudeva). The beautiful music was composed by Hemanta Mukherjee (I hope the soundtrack will be available soon). It will be particularly enjoyable by those who had read the book. In many of the scenes the synergism produced by the photography, the music and the acting is superb. And with few excceptions, the movie is a good transcription of the book. The book and the movie became part of the "cult culture" of the West coast of the early seventies, but it never got the attention of the general public. With a condescending tone, Leonard Maltin refers to the movie as "too arty, but on-location photography ... is often dazzling".

I am at a loss to understand the one star reviews and most of the negative comments even in those that were more charitable.

In comparing the story as told by the film with that of Hesse's novel, I can only say that upon first reading the book long ago I was surprised and disappointed to find the story of its Siddhartha not that of the historical Siddhartha Gotama, said to have become the Buddha. I still do not understand that - whether it arose out of a hazy knowledge of the true story on Hesse's part or as a subtle literary or metaphysical device.

On first seeing the film, also long ago, it seemed somewhat flat to me, perhaps reminding me of the disappointment I had upon first reading the book. Now, thanks to the availability of the DVD, I have just seen it for the second time. There is depth, breadth and beauty in it I did not appreciate when I first saw it. I look forward to seeing (and hearing) it again, now whenever I wish.

It is not the story of the Buddha, but it shows much through which he might have passed and, more abstractly, through which any of us might pass.

Director Conrad Rooks was something of a sensation in the 1970's, the son of the Avon cosmetics empire and an alcoholic by the age of 15, he also spent a number of years in India and taught himself film-making. Besides his autobiographical 1966 movie, Chappaqua, his adaptation of Herman Hesse's Siddhartha was his one and only cinematic achievement. Today he is largely forgotten. As of this writing he doesn't even have an entry in Wikipedia.

But Siddhartha lives on as a literary classic and as a result the film is still sought out by loyal and often fanatical fans of the book. A quarter century later it is still a visually beautiful film, one that can impress, especially on a large screen, with its panoramic shots. Brooks knew India and his familiarity with the place shines through in the film.

The acting is not bad, but on occasion overdone, such as the boatman's homilies delivered in a patronizingly saccharine voice. The script is occasionally clunky, lifting bits straight from the book, and in parts the story seems a bit rushed. The middle section - in which Siddhartha meets Kamala, moves to town, and becomes a local businessman - has the most natural and unhurried flow. Two decades on the sex scenes are not unsurprisingly tame - and occasionally comical (such as Siddhartha's first orgasm).

The biggest problem with the film is that it leaves out what is for me one of the most meaningful observations of Siddhartha's life, that his time as a husband and father, as a property owner and businessman, was not wasted time. On the contrary, he could not have arrived at enlightenment without having experienced a life of sensual pleasure - and despair. As Siddhartha tells his friend Govinda many years later:

"I learned through my body and soul that it was necessary for me to sin, that I needed lust, that I had to strive for property and experience nausea and the depths of despair in order to learn not to resist them, in order to learn to love the world, and no longer compare it with some kind of desired imaginary world, some imaginary vision of perfection, but to leave it as it is, to love it and be glad to belong to it."

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This is a beautiful film in many ways, probably none more so than in the way the director has interpreted Herman Hesse's novel of the same name. I see little point in regurgitating the essence of the plot as it really does nothing but detract from the purpose of the review.

As with all works of art, in whatever media form it may be expressed, this is an interpretive statement of the author's original novel and as such it is an interpretation as much based on the audience it is geared up to as well as the film maker's. It may be legitimate for a critic to dispute the finer points of the interpretation or even the philosophical or religious underpinnings but in this case, it seems to me that we miss the point.

As a reader, I must confess to finding all of Hesse's work not as it would appear at first glance. Even Siddhartha, an apparently simple tale, is a much more complex and thought provoking text than it appears. Not being an expert in this area, I do not dare to present an exegis of the book which I will happily leave to more authoritative reviewers.

To me the director has tried to tease out, as he sees them, the salient points of the text and has done so in a personal form as if the main character is the narrator. He tells the tale in a rather unfeeling way suggesting a sense of detatchment and objectivity, a device which is present throughout the movie and which in a way denies the need to try and deal with an emotional aspect. Siddhartha's inability to deny his emotions is sorely tested when his newly found son rejects him and runs away to the town. Further, his innate inability to recognise these passions and deal with them brings into sharp focus the imbalance in his character of being too objective, too clever, too logical. In a way the film seems to be taking more of a Zen approach throughout.

There is abundant beauty throughtout this film. Not surprisingly the three central characters are very photogenic and beautiful and their surroundings are clear and beautiful too. The exposure of poverty and opulence to the camera gives everything an appearance of beauty including the poor and the holy men. This again allows the highlighting of the bad as feelings and inhumanity such as the travellers pushing away the young boy as he searches urgently for help for his mother.

There is beauty too in the overall serenity of the movie which perhaps may have been an aim of the director.

Ultimately, this movie can be interpreted too on many levels and in that it certainly follows the book. I found it to be engrossing and thought provoking and my only negative is the excessive echo on the voices.

This is a must for anyone who wishes to take an introduction into Hesse's work before delving into the text. It is worth watching too as a sumptuous spectacle of filmmaking.

Conrad Rooks makes a sincere effort to adapt the Herman Hesse classic to screen and succeeds to a great extent. He pays much attention to Hesse's story and avoids taking away its soul.

Siddhartha, a Brahmin's son leaves home in search of himself. He joins the sadhus and is not content, he meets the Buddha but even the great teacher cannot quench his thirst, he crosses the river to find Kamala, a beautiful courtesan. While his life as an ascetic is one extreme, his life with Kamala is another. Still discontent he crosses back the river to find the answers long evading him, by the banks of it.

The story is set in the time of Buddha so best efforts are made to keep the setting authentic. The camera captures the landscape of India in its true form as Siddhartha travels with the sadhus.

Rooks employed well known film stars of Indian cinema in his movie. Shashi Kapoor as Siddhartha and Simi Grewal as Kamala put in a sincere performances. They both look the part.

Although many emotions are lost in the transition of a book to a film, this movie is an honest attempt of the filmmaker to translate the classic to this medium.

After a long wait Siddhartha was released on DVD. The first impression after watching this movie was-disappointment. I had read the book numerous times and knew the ups and downs of the story very well. But the stregnth and depths of major chracters was not played with the intensity as was portrayed in the book. Some of the sequences which were brilliantly concieved and told by Hermann Hesse lost its way in the movie. The relationship between Siddhartha and his childhood friend Govinda was shown very superficiously. The character of Vasudeva which is very deep and intense in the book was not taken seriously. The most memorable part of book where Siddharatha meets Buddha was shown in a hurry.

Although movie doesnot live to the expectation of one who has read the book but still it has some very positive aspects. Cinematography and locations are extreamly good, the rendering and music of Tagore's poetry is absolutely marvelous.