Kundun

Rating:
Summary: Superb!
Review: Deserving of 10 stars, not simply 5. This film is a sweeping epic relating the Tibetan struggle to maintain independance. It culminates into a testament of deep spiritual compassion for all who suffer. Wonderful!

Rating:
Summary: The Ocean of Wisdom
Review: There is an unexpected quite dignity that surrounds "Kundun" that one would not expect from Scorsece. However, to take a risk like this, to attempt to create a piece out of something so ontologically divergent from his hard boiled hoodlum movies, Scorsece has to be recognized.

I'm certain that everything about the movie itself - has been written and talked about to death so I won't get into all that. However, the clever use of non-Hollywood actors; the imagery; the epic struggle of a coming of age of a boy, magically discovered, to grow into a man of international renown and consequence.

Over and above the cinematic triumph of the efforts of Scrosece, Matheson and Roger; little is said about the attempts by the Chinese Government to stop this movie from seeing the light of day. I guess the power of Scorsece to portray religious figures as human beings and not distant godheads was not missed on the Chinese Authorities.

Scorsece run the risk of caricaturing due to the vastness of his subject and his impact on the world - and passed with flying colors. We have to ask ourselves though, as a viewing public: Is this a form of escapism? A longing for an ontological framework so divergent from our own? We long for it despite knowing full well that we will never understand its detail without the discipline of research beyond a two hour movie. We continue to wish that a Shangri-La still exists. Scorsece's efforts to infuse a semblance of realpolitik show us no sign of Shangri-La and it is for that that I will forever remember this film.

Miguel Llora

Rating:
Summary: The Zen of "Unhelpful" Reviews
Review: Martin Scorcese goes Bertolucci with this painterly portrait of the Dalai Lama and Tibetan culture, but "The Last Emperor" this ain't. No, I didn't go in expecting "Raging Zen" or "Goodmonks". And yes, the frame is filled with visual splendor and Scorcese's mastery of cinematic composition and color is on full display, but somewhere along the way he forgot something called "an interesting narrative". The actual story of the Dalai Lama's struggle and exile IS in fact a fascinating tale, so this should have been a no-brainer. Using "non-actors" is always a gamble, and in this case an unfortunate decision. I think Scorcese got too hung up on his obvious reverence toward the subject, to the point of stifling his own creative license. What you end up with is a glorified TV documentary--pretty to look at, but ultimately a curiously detached exercise in tedium.

Rating:
Summary: wonderful
Review: Other than the original 1950's "Seven Years in Tibet," which offered incredible first hand footage of H.H. the Dalai Lama from Heinrich Himmler, Scorsese's "Kundun" is the most definitive film on the life, trials, and tribulations of Tibet's Spritiual and Political ruler.

Scorsese's skills, as always, are first rate in the film. The photography, amazing for the original vhs or theater version, is even more amazing in the dvd version. Of course, the fact that Tibet is a beautiful country helps, but the angles and shots that Scorsese uses only accentuates the natural beauty all the more.

The film itself chronicles the life of H.H. The Dalai Lama from his discovery at the age of 2, the meticulous tests that go with the Buddhist traditions to be sure that Kundun is indeed the 14th Dalai Lama, etc. through to the dark days of post WWII, where Mao-led China declares that Tibet is a Chinese province and forcably annexes Tibet, to H.H. having to leave Tibet for the safer lands of India. All parts of the film are historically accurate, as H.H. lent his cooperation to the script and film itself. The co-operation of H.H. gives the film absolute legitimacy.

Scorsese's portrait of Kundun is that on an enlightened monk (which indeed, a Dalai Lama is), and some people will argue that the human side of H.H. is not painted in the film. I disagree with that assertion- indeed, the scene where H.H. dreams of being amongst monks who were killed for their pacifism, is an all too real image of absolute humanity. The fact that H.H. wanted to stay in Tibet and not flee to India is another sign of his humanity. While Scorsese looks apon H.H. as a spiritual leader, he does not leave out the human factor at all.

The film is boosted by a brilliant score by American minimalist composer Philip Glass, whose music accentuates the otherworldly quality of certain scenes, and keeps the overall dramatic nature of the film intact.

If you see one film of H.H. the Dalai Lama, choose "Kundun." Scorsese's work is brilliant, as is the acting by the cast of Tibetan unknowns, which adds more credence to the overall experience. Add Philip Glass and H.H. himself to the mix, and the overall experience is unparalleled.

Rating:
Summary: A hypnotic meditation on a spiritual culture
Review: Let's get one thing straight off the bat. This is NOT a movie for the MTV generation. Martin Scorsese is not interested in hyperstimulating you with quick edits, hyper music or constantly changing visuals. Kundun is a magnificently measured meditation on a culture of meditation and contemplation. Does that mean it's boring? Not for someone interested in a serious look at another culture, its beliefs, and the price it pays to preserve them from an adversary. Beautifully shot and acted, with a score that is meant to entrance rather than draw attention to itself, I would argue Kundun is one of the best films of the 1990s, and maybe of all time.

Rating:
Summary: Kundon't
Review: Slow first half kills modestly interesting second half of this epic bio of the Dalai Lama. The film makers feel everyone knows the inner workings of Tibetan culture, leading to constant frustration about the goings-on.

Rating:
Summary: Impressions of a Casual Observer
Review: This two-hour film is based on the life of the fourteenth, and current, Dalai Lama. Some who are familiar with Scorcese's previous onscreen excesses may find it a little dry and straightforward. There were surprisingly few violent scenes, although the ones that are included might be too disturbing for smaller children.

Visually, this film is absolutely gorgeous. Each scene is arranged perfectly and there are dozens of beautifully filmed slices of Tibetan culture. Widescreen on DVD, the film was especially eye-popping.

This movie also got me more interested in Tibetan history. It also presented a few cursory snatches of Buddhist thought, but not enough to satisfactorily explain how it feels to be Tibetan. I personally thought it lacked emotional impact, but its historical accuracy and splendid cinematography definitely make it a worthwhile viewing. Unfortunately, the music is repetitive and doesn't add to the overall impact of the film.

Rating:
Summary: Beautiful Movie
Review: Not only is the movie visually beautiful, so is the story. The colors are rich and crisp. This movie was adapted from a book written by the Dalai Lama about his life. It tells a story of the plight of the people of Tibet to remain independent and enjoy religious freedom as we all wish to. I watch this movie several times a week because it reminds me of the Buddha like nature we all must strive for daily. I also watch this movie because it reminds me that spiritual consciousness is far more important that any material possession.

Rating:
Summary: A beatiful achievement.
Review: I love this film. It is one of my all-time favorite films. I could go on about the greatness of this film, but let me highlight a few things. First, this film is totally beautiful. Second, the directing is solid. Third, the message of the movie is well worth thinking about. I am not surprised that Martin Scorsese made this movie. I watch it with great pleasure. Go out and watch this film.

Rating:
Summary: PROFOUND SPIRITUAL BEAUTY
Review: 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.