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It would be a mistake to call Kundun a disappointment, or a film that director Martin Scorsese was not equipped to create. Both statements may be true to some viewers, but they ignore the higher purpose of Scorsese's artistic intention and take away from a film that is by any definition unique. In chronicling the life of the 14th Dalai Lama, Kundun defies conventional narrative in favor of an episodic approach, presenting a sequential flow of events from the life of the young leader of Buddhist Tibet. From the moment he is recognized as the reincarnation of the 13th Dalai Lama in 1937 to his exile from Tibet in the wake of China's invasion, the Dalai Lama is seen as an enlightened spiritual figurehead. This gives the film its tone of serenity and reverence but denies us the privilege of admiring the Dalai Lama as a fascinating human character. There's a sense of mild detachment between the film and its audience, but its visual richness offers ample compensation. In close collaboration with cinematographer Roger Deakins, Scorsese filmed Kundun with great pageantry and ritual, and meticulous attention to details of costume, color, and the casting of actual Buddhist monks in the scenes at the Dalai Lama's palace. Certain images will linger in the memory for a long time, such as the Dalai Lama's nightmarish vision of standing among hundreds of dead monks, their lives sacrificed in pacifist defiance of Chinese aggression. Is this a film you'll want to watch repeatedly? Perhaps not. But as a political drama and an elegant gesture of devotion, Kundun is a film of great value and inspirational beauty--one, after all, that perhaps only Scorsese could have made. --Jeff Shannon ... Read more

Reviews (90)

wonderful
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.

Great Movie. Watch it again.
I found this this film quite astonishing. The way the Dalai Lama is presented from its early childhood discovery of Reting Rinpoche, and how the costumes are just beautiful. What stood out most in my mind was the Oracle scenes, and how the beauty of the Potala palace in Tibet. The acting of Tenzin Thuthob Tsarong is amazing, I fell in love with the compassion, thoughts and lines in this movie. The music is neither disturbing nor irritating, it simply was perfect. I recommend this video for anyone who want to catch a glimpse of tibetan buddhism imagery and just have a great time watching a film about the Dalai Lama.
As for the truthfulness of this film, since I'm aware of the dramatic licenses made here, I really could care less. Scorcese directing is superb, and I would sure hell watch this film again.

Skewed vision.
A lot of criticism levelled at 'Kundun' seems to fall into 2 categories. For some purists the movie is far too Hollywood, while for a lot of movie-goers, it's just not Hollywood enough. For one not familiar with Tibetan history, 'Kundun' gives a very one-sided view of events that occured at that time. The Tibetan hierarchy are portrayed as predominantly passive and peace-loving, seemingly free from any kind of authoritarian thinking. This may have been misleading. Martin Scorsese has admitted himself that he is not an authority on Tibetan history and the fact that the production of the film was overseen by the Dalai Lama himself gives some indication as to how the film was to convey a very specific outlook.

One could be forgiven for thinking that Tibet had all the vastness of Rhode Island, so centered is the film on the small, enclosed world of the Dalai Lama's upbringing. Bernardo Bertolucci's 'The Last Emperor' was much more successful at conveying the political intricacies that surrounded it's subject. For an objective viewpoint 'Kundun' is not the film to see.

On the other hand you have to ask yourself would the same amount of cynicism be aroused if this film was based around a major figure in Judaism, Christianity or Islam.

Having said all that, from a purely cinematic point of view 'Kundun' glows with beautiful cinematography, a spellbinding score by Phillip Glass and some pretty believable performances by previously non-actors.

Aristotle Would Call This Film "Epideictic Rhetoric"
Some novels, films, plays, poems, sculptures, music, dances, and paintings are meant to entertain us in various ways, and some are meant to alter our outlooks on the world we live in. This film belongs to the latter category. Specifically, it's an instance of what Aristotle called "epideictic rhetoric"--a work constructed to make us respect and admire (or disrespect and look down on) some person(s) or thing(s). In this case, as most reviewers notice, most of us come away feeling that we greatly respect and admire the Dalai Lama, who has developed into a highly enlightened and compassionate person DESPITE (or because of) great adversity. While our govt. has eagerly sucked up to Red China (which is guilty of "human rights abuses" against its own citizens as well as Tibetans), Martin Scorsese courageously unmasks the villains--none of that "most favored nation" stuff for him (which is why Red China has singled him out and forbidden him to go to Tibet). The film is genuinely touching and beautifully filmed. My only fault-finding with it is that the current Dalai Lama is presented as being IN FACT a reincarnation of the previous Dalai Lamas. Although I've been a Buddhist for over 40 years, I don't believe in reincarnation and doubt that many other viewers of this film--Christian, Jewish, Muslim, Buddhist, atheist, etc.--do either; this COULD have been presented as part of a "belief system" and not as a "factual" condition. (Next time you watch one of the 57 different film versions of the crucifying of Jesus, look to see whether the director's approach is naturalistic or supernaturalistic and how that makes a difference on the impact. And look for the same factor next time you watch the Indiana Jones films, which are meant to entertain us. That may partly explain why the second of these films, which uses a non-Judeo-Christian array of beliefs as FACTUAL is usually rated lower than the other two.)

A visual and musical poem of an important religious leader
Because of his place in American Pop Conciousness, the Dali Lama too often suffers from shallow treatment and cartoonish representation because of his association with famous personalities. In reality, he is a serious religious figure and deserves serious treatment. This movie is a serious and, I think, beautifully poetic attempt to tell the story of his youth through his escape from Tibet into exile as the Communist Chinese closed their grasp on his sad homeland. The images are powerful and the Philip Glass score supports the visual means of telling the story very well.

I have no idea how much of the miraculous nature of the selection of Kundun as the Dali Lama or his remembering of his previous lives is based in perceived reality or is just poetry, but certainly the Dali Lama deserves some iconographical treatment.

For me, a most powerful scene occurs when Kundun has his last conversation with Mao and finally realizes his betrayal. In this scene Mao tells him that religion is poison in a most callous and condescending manner. In this, I see the emptiness of modern materialism and its inability to see anything of value in the spiritual and traditional. There is blindness in materialism's view favoring the new and the present as necessarily being progress over the past. It sees technology as always an improvement (it is the flip side of the coin of those who believe that all technology is soulless and evil).

This isn't an adventure film and certainly nothing like Scorsese's more famous and violent films. But I think he has accomplished something beautiful here and I have enjoyed watching it several times.

"Seven Years in Tibet" tells the same story a bit differently and less poetically and has the complication of the Brad Pitt's character being, well, a Nazi. But I think seeing both movies adds to one's understanding rather than seeing either of them alone. ... Read more

Reviews (17)

slow direct-to-video indie
Without Adrien Brody's timely Oscar win, this slow moving indie would not have seen the light of day. Brody is badly miscast as a NYC lowlife, a professional criminal who stages hotel robberies of dimwitted Asian tourists while wearing police getup.

He meets and falls in love with a brilliant young college student, Claire and start an affair...first she falls for him, he cheats on her to drive her away. Then she begins a frightening dissent into prostitution and suicide, while Jack (Brody) reveals that he really is in love with her.

This probably makes it sound better than it is. The script is confusing -- is Claire a college freshman or a graduate student in Genetics? This is kinda important, because we evaluate her character and her actions differently if she is a 18 yr old virgin (which is hinted at) or a more mature 22 yr old. The actress, Charlotte Ayanna, is very attractive; she resembles Kimberly Williams (Father of the Bride), but she is way, way out of her depth once the role calls for her to descend into mental illness and self destruction. There is no hint given why the breakup of this rather shallow, short term love affair would have her turning tricks (without condoms) on street corners or cutting her wrists (which is why we really need to know if she is a teenager or in her 20s). Why is it inside of her that is so needy and immature? We never find out.

Adrien Brody, who is talented and handsome in an unusual way -- very thin, expressive face and huge puppy dog eyes -- is just completely the wrong physical type for the part of a sleazy down and out loser. I wonder what casting genius thought of this? He's so slight and frail looking when he puts on a police uniform, you think of a kid dressing up for Halloween -- it's imposible to believe even Japanese tourists take him seriously. Some actors are handicapped by having a "look" that limits their parts, and Mr. Brody's "look" screams aristocratic Jewish intellectual.

It's even more confusing when Jack is revealed to be a wannabe writer, who collects first edition books and reads Melville (apparently not any comtemporary writers, though). This is the kind of unbelievable detail that just sinks his characterization. So is his amazing turnaround in prison, where he gives up crime for writing and

*SPOILER ALERT*

gets back together with Claire, the least plausible detail in the film. Why would she take this apalling cad back into her life? And how did she recover from mental illness, a suicide attempt, lengthy stay in psychiatric hospital, and still manage to return to college, graduate and get a job in a medical lab...all in two years? Never mind. The filmmaker just wanted to tack on a happy ending! But it's jarring and inappropriate.

Like most not-very-good low budget films, the main problem isn't the lack of big stars, loud music, computer graphics, car chases etc, but a BAD SCRIPT. The film actually has a nice gritty, unglamorized look to it, and the love scenes -- filmed in an arty, non-linear way -- are appealing. But the story is less convincing than some sci fi thriller with giant aliens.

If you adored Adrien Brody in "The Pianist", you might want to catch this just to see him in contemporary clothing, but otherwise, it's a waste and very boring...a movie that probably would have never been released if he had been passed voter for that Oscar.

Yup, That's the Hard Way All Right
Claire (Charlotte Ayanna) is a studious college student pursuing a degree in biology at a prestigious university. Jack (Adrien Brody) is a thief and con artist with a creative m.o. They come from two very different cultures and have disparate personalities. Yet, when they meet, they are immediately attracted to one another. Claire is drawn to Jack's scumminess and becomes infatuated with him. And although Jack tells himself that his attraction to Claire is purely physical, that may not be the whole story. When Claire's intense feelings begin to make him uncomfortable, Jack dumps her. Claire's devastation sends her on a self-destructive binge, and Jack, who feels responsible, follows suit.

"Love the Hard Way" was inspired by a Chinese novel, the production is European, and it was filmed in New York City with a mostly American cast. Although the film has a strong sense of taking place in a certain location among a particular sub-culture, the story is surprisingly universal. An emotionally distant man discovers, the hard way, that love may be what he seeks after all. And a caring but naive woman discovers that her life may be found in the world outside her sheltered environment. The performances in "Love the Hard Way" are all admirable. Adrien Brody fans will want to see this one. He is especially good here. Pam Grier is a welcome addition to the cast in a small role as a police detective. "Love the Hard Way" was shot in just over a month on a relatively small budget. But the film looks great and the attention to detail is commendable. Writer/director Peter Sehr, producer Wolfram Tichy, cinematographer Guy Dufaux, and Christian Nauheimer, the film's editor, have all done an excellent job of pulling off a very good film that looks very good with limited resources. Recommended if you like character dramas or offbeat, somewhat hard-boiled, love stories.

The DVD: The bonus features include a "making of" documentary, deleted scenes, a theatrical trailer, and a gallery of still photographs. If you have the time, I recommend the documentary. It's badly edited, too long (1 hour) and too repetitive, but it's interesting.

Strikes A Nerve
I too caught parts of this movie on cable recently, and had to rush out to rent it. Jack and Claire's love story gone wrong struck a nerve with me and had me wondering if they would finally find their way back together. Although the dialogue could have been a little fresher, particularly when Jack first started hitting on Claire, I wholly disagree with other reviewers who felt that Claire's motivations should have been fleshed out. This is a thinking-person's movie, plain and simple.

The acting was very charismatic, no need to repeat how brilliant Adrien Brody is. I've seen Jon Seda's work on the TV show Homicide and have admired his talent for some time. I wish his character could have been developed a little further. August Diehl as Jeff was a little creepy, but cool.

All in all, this movie was a hauntingly refreshing retreat from Hollywood cookie-cutter romantic flicks. At last a film where you're not sure if the leads will ride off together into the sunset.

Great Movie
This was an amazing movie, I highly recommend it.

Love the Hard Way
This movie is based on a Japanese novel: do any of you DVD buffs know the author & title? Want to order from Amazon.com

ALSO in same vein...

Lost in Translation pays homage to a Japanese film director: do any of you DVD buffs know this director & film titles? Want to order from Amazon.com

Thanks so much! ... Read more

Reviews (1)

Slow moving, yet has its moments of comic genius
"The Homeboy" has the potential to be a cult classic. When I first saw the cover, I thought it was a ripoff of "Malibu's Most Wanted" This, thankfully, is not the case. "The Homeboy" was lensed a couple of years before, and is quite a bit different.
The plot involves a white rap artist named MC Square who had a huge hit with his debut album 3 years earlier. Unfortunately, he has been unable to match that success and his career is in jeopardy, particularly after a TV interview makes him come off as a racist.
Enter the sink repairman, who happens to be a former rapper(and one of Square's biggest influences) Hoolie Hooligan. Square sees the opportunity to kickstart his career by luring Hoolie out of retirement and recording with him. Too bad for Square, Hoolie turns out to be incredibly difficult to work with.
"The Homeboy" gets off to a slow start, but once it gets rolling it's laugh out loud funny. The only thing that's going to prevent "The Homeboy" from being a top notch comedy is that the laughs are too uneven. When its funny, it's hilarious. But when it focuses too much on the plot, the pace drags and the laughs slow down big time.
I'd recommend this film to people who like unconventional comedies and don't mind a low budget(in the commentary, I think the director said this cost only about $55,000 to make). While not consistant with its laughs, "The Homeboy" has enough moments of comic brilliance to satisfy even the most jaded of film cultists. ... Read more