Kundun
Tags: avant garde, murder

Plot synopsis:
The film has a straightforward chronology with events spanning from 1937 to 1959; the setting is Tibet, except for brief sequences in China and India. It begins with the search for the 14th mindstream emanation of the Dalai Lama. After a vision by Reting Rinpoche (the regent of Tibet) several lamas disguised as servants discover a promising candidate: a child born to a farming family in the province of Amdo, near the Chinese border.
These and other lamas administer a test to the child in which he must select from various objects the ones that belonged to the previous Dalai Lama. The child passes the test, and he and his family are brought to Potala Palace in Lhasa, where he will be installed as Dalai Lama when he comes of age.
During the journey, the child becomes homesick and frightened, but is comforted by Reting, who tells him the story of the first Dalai Lama – whom the lamas called "Kundun." As the film progresses, the boy matures in both age and learning. After a brief power struggle in which Reting is imprisoned and dies, the Dalai Lama begins taking a more active role in governance and religious leadership.
Meanwhile, the Chinese communists, recently victorious in their revolution, are proclaiming Tibet a traditional part of Imperial China and express their desire to reincorporate it with the newly formed People's Republic of China. Eventually, despite Tibet's pleas to the United Nations, the United States, the United Kingdom, and India for intervention, Chinese Communist forces invade Tibet. The Chinese are initially helpful, but when the Tibetans resist Communist reorganization and reeducation of their society, the Chinese become oppressive.
Following a series of atrocities suffered by his people, the Dalai Lama resolves to meet with Chairman Mao Zedong in Beijing. While Mao initially expresses his sympathies to the Tibetan people and the Dalai Lama and insists that changes must be made as the Dalai Lama sees fit, relations inevitably deteriorate. During their face-to-face meeting on the final day of the Dalai Lama's visit, Mao makes clear his view that "religion is poison" and that the Tibetans are "poisoned and inferior" because of it.
Upon his return to Tibet, the Dalai Lama learns of more horrors perpetrated against his people, who have by now repudiated their treaty with China and begun guerrilla action against the Chinese. After the Chinese make clear their intention to kill him, the Dalai Lama is convinced by his family and his Lord Chamberlain to flee to India.
After consulting the Nechung Oracle about the proper escape route, the Dalai Lama and his staff put on disguises and slip out of Lhasa under cover of darkness. During an arduous journey, throughout which they are pursued by the Chinese, the Dalai Lama becomes very ill and experiences several visions of the past and future. The group eventually makes it to a small mountain pass on the Indian border. As the Dalai Lama walks to the guard post, an Indian guard approaches him, salutes, and inquires: "May I ask, are you the Lord Buddha?" The Dalai Lama replies with the film's final line: "I think that I am a reflection, like the moon on water. When you see me, and I try to be a good man, you see yourself."
Once the Dalai Lama arrives at his new residence, he unpacks his telescope and steps outside. Erecting it and removing his spectacles, he gazes through it toward the Himalayas – and toward Tibet.
The film concludes with two lines printed on screen:
"The Dalai Lama has not yet returned to Tibet. He hopes one day to make the journey."

Review: It's really difficult to describe how I feel about this movie since I have only viewed it once and was completely blown away, it left me in complete awe.Like most when I first started watching Scorsese I thought that he did brilliant gangster films and that was his thing, but I have recently discovered that this couldn't be further from the truth.
It is easy to see that he is an artistic genius, the acting in the film was great, but I could have watched it on mute and still have been amazed.If, like I was, you are unfamiliar with the Buddhist religion and the Chinese takeover of Tibet this film has even more to offer.
Scorsese's risk of using real Buddhists to do all of the acting payed off better than I ever expected it would, the fact that we are hearing the story through the people it affected adds another level to this movie.I cannot believe that this film only has a rating of 7 on this site.
Scorsese's vision's in this movie are unlike any of his films, not to mention a great score by Phillip Glass..
The cinematography and performances are excellent - the cast of mostly non-actors is surprisingly good, and much of KUNDUN is staggeringly beautiful to watch.It has also struck me that this film isn't as much of a departure for Scorsese as it first may seem - this film works well as something of a companion to LAST TEMPTATION OF Christ in that both pictures examine great faiths through spiritual figures in a way that personalizes the divine.
In their own ways, several memorable Scorsese characters - Sam Rothstein (CASINO), Henry Hill (GOODFELLAS), Rupert Pupkin (KING OF COMEDY), Paul Hackett (AFTER HOURS) and Alice Hyatt attempt this, some in ways that are desperate, comically misguided or just plain wrong, but they're all human, driven by some redemptive impulse nonetheless.The Catholicism of Scorsese's youth places great value on the importance of ritual, which is also true of Buddhism, which is depicted in a detailed and respectful fashion here, and the rhythm of KUNDUN - where the chronology of events isn't (or at least doesn't seem) forced, but are instead allowed to unfold in a more naturalistic and lifelike fashion also seems to mirror Buddhist ideas admirably.This is a far more complex film than it first might appear to be - far from being a simple biopic, KUNDUN is much much more.
The Dali Lama, must be grateful his story, can now reach the world and his personal mission, may be recognized and possible fulfilled in his lifetime?Like the "Last Emperor" and "Little Buddha" this "slice of the metaphysical river", is breathtaking in its visual beauty.
A story that grabs your heart and soul, and you find yourself, thinking about it weeks later.Now I have a "Free Tibet" sticker on my Pathfinder, out of reverence for this tiny country, raped by the political powers in control of China.Bravo to the cast, and film crews..
Using a cast of non-actors for the most part and opting for a more artful photographic style (kudos to DP Roger Deakins, veteran Coen collaborator, for his mesmerizing work here), Scorsese gives a truly spiritual film revolving around one of History's great tragedies.
It's something quite fantastic to watch such an amazing film about the early years of the Dalai Lama and the plight of Tibetan Buddhists knowing that it comes from a man who has long wrestled with his own religious ghosts (witness the still hotly debated conundrum that is his "Last Temptation of Christ").
With probably only "The Age of Innocence" to compare to in Scorsese's now hallowed canon, "Kundun" is a breathtaking work of art--visually sumptuous (with beautiful work from cinematographer Roger Deakins), hauntingly transcendental, and deeply symbolic.As an outsider looking in, Scorsese manages to create an intimate level of detail that someone who lives and breathes Buddhism might have overlooked.
From the rich colors of meditative sand art to the bright red blood spilled during China's unlawful occupation of Tibet, everything takes on a deeper meaning that leaves much to the imagination and higher mind.Wisely, Scorsese follows the same template of Richard Attenborough's equally resonating Oscar winning epic "Ghandi" by adapting a straight forward approach to his presentation of the Dalai Lama's most tumultuous years.
This is the best movie of Martin Scorsese and if I ever would have the pleasure to meet him personally I would say: "Thank you for making 'Kundun'."However - when I saw the rating (7 of 10) it achieved here at IMDb, I must admit, I was a bit shocked.
This may not make sense to most people, but after viewing the film, even if like me, you are not a very religious person, you cannot help but be moved by the selflessness and love that these characters experience.Cinematic ally, it is also one of Scorsese's most beautiful films as well.8 out of 10.
Throw in the intriguing Philip Glass score and you have quick a sensory experience.Scorsese took a brilliant approach to this film in many ways:-- Casting unknown actors: the Dalai Lama and the Tibetan people are unpretentious themselves, casting any names in the part would not only be ethnically sacrilegious, but would have missed the point.
The sound track adds eminently to my collection of inspirational Asian music reflects the beauty of the chants that so typify the Tibetan Buddhist experience.As a historian I found the film a useful tool to introduce students and others to the Tibetan perspective on the events of the 1940's & 1950's without moving away from the essential message of Buddhism and the Dharma as interpreted by his Holiness.A jewel in my Film library and one watched many times..
This movie Kundun got me through some hard times,watching this movie hours after finding my girlfriend with her new man and being the last to know the relationship was over,I completely broke down almost on every chapter of the movie I felt I was from Tibet and I had been betrayed by the Chinese,but it was much more than that.Kundun with it's realty and emotion mixed with Philip Glass soundtrack makes this a movie that you become attached to the characters and sadden by their misfortune.Every time I watch this film I feel part Buddhist and this is one of my top 5 movies ,but truly I can't express how much this movie saved and uplifted me during my struggle.
I haven't seen any other Scorsese films except "The Aviator", but that can't hold a candle to this one.The two points that really make Kundun shine are the drop-dead gorgeous cinematography by Roger Deakins, which really adds a whole dimension to the film, but that's peanuts compared to the brilliant score by Philip Glass.
Although the newest religious hype is the Kabalah, it is a fact that several actors and actresses, directors, scenarists, music composers and many more others have converted to the ancient religion which Budhism is and that's probably also the reason why the subject Tibet has been used a few times in the movies.
In the same year, 1997, we got Jean-Jacques Annaud's "Seven Years in Tibet" with Brad Pitt and Martin Scorsese's "Kundun" with no known professional actors.It's not easy to tell which movie of the two was the best, because each of them has some good and lesser things to offer and both have a completely different approach to the subject.
Perhaps that's the way the life of a holy man like the Dalai Lama should be told, or perhaps it is a part of the Budhist culture that for everything you should take your time, but sometimes I really wanted that it all went a bit faster.
Focusing on a character other than the Dalai Lama allows for too many distractions within the plot of the movie, especially when the script for Kundun was taken from a biography of His Holiness.
The film fails to impress one as a comprehensive account of the Dalai Lama's life (and I don't think it was meant to be one, although various reviewers have commented on how the movie "fails to deliver the goods").
Even as the Dalai Lama grapples with the spectre of Chinese control of Tibet, his own safety, the loss of Tibetan culture and religion, his duty to his people, and the possibility of living in exile - the vivid fleeting interspersed images of the mandalas remind us that nothing is permanent - only that there is hope of rejuvenation and rebirth.
The experience of viewing this film will no doubt be enriched by familiarizing oneself with background information on the various facets of Tibet - its culture, its history and politics, spiritualism and Buddhism, and a fundamental appreciation of Eastern concepts dealing with the non-permanence and cyclical nature of life and death.
From the beautiful cinematography, the costumes, the musical score, the truly brilliant and amazing acting by every single participant in this motion picture the movie delivers a true perfectionism by Martin Scorsese.
I was actually fortunate enough to meet(well listen to, anyway) the Dalai Lama and he is a remarkable man, whose wisdom and kind words have done a great and immesurable deal more than a whole nation did to the people of Tibet.
The plot manages to be both epic (nations collide) and small (boy grows up) at the same time, but it is ultimately the smallness that you are left with : the story simply never takes off.The Dalai Lama is, rightly, played with a stillness and spirituality but there are not enough moments where this stillness is played off against more fiery elements or where any wit shines through - we're simply expected to look at the unblinking face and think "aaaah.
I think that many people should watch this movie because it showed what has happened to Tibet, and now their leader can not go back, and he needs to and the Chinese army should back down.
Those who think the film is "slow" or fault it for not being a strict documentary are simply obtuse beyond belief.If one wants only explosions and throbbing music cut on the beat of such destruction, one will will surely find it slower than a Bruce Willis or Arnold Schwartzenegger vehicle.This is a true film masterpiece, the action, drama, and conflict of which take place and evolve in the viewer's *mind and consciousness* -- assuming he or she has either, which from reading some of the previous reviews I find doubtful.Scorsese evokes a time, a culture, a sense of identity of a people and a place that no longer exists as they did and does it with images rather than explication or dialogue, as any great cinematic director does.I find previous comments about "wooden acting" by the non-actor cast inexplicable, given the extraordinary performances in the film.If one has difficulty understanding why the rest of us rated this film so highly, perhaps one would best look to individual sensibilities rather than poo-poo Scorsese's abilities or his achievements in this film.Kundun, unlike the vast majority of junk movies that are hyped and enjoy temporary box office success -- and which are evidently preferred by some who reviewed it -- will still be worth watching for the perspective on human consciousness, conscience, and moral choices it presents, 50 or 100 years from now..
The important thing to say is that this story is true and we hope that movie will contribute to open the eyes of the so called democratic countries to the drama of those people and force them to condemn Chinese authorities overtly for it and stop the hypocrisy of showing great indignation (sometimes feigned)for some human rights' violations while at same time disregarding some others even more brutal..
Having read the book, having been emotionally involved in the religious aspects, the heady politics and in the man himself, I expected much of this movie.The movie looks great, is well shot and Scorsese paints a wonderful and strangely glamorous view of HH Dalai Lama's early life as spiritual leader of Tibet.
It is beautifully filmed and the score is marvellous.Although background knowledge of the Dalai Lama and Tibet does serve to highlight scenes which might otherwise be considered exclusive, Kundun remains a thoroughly touching account of a man and nation torn by the terror of communist Chinese abuses.At times the English is a little hard to follow as the actors are all non-professional.
This film goes beyond the magic of Seven Years in Tibet (1997), deeper into the early life of the Dalai Lama while painting a more vivid picture of Tibetan culture and shedding more light on the Chinese `liberation' of Tibet.Kundun is as authentic as I can imagine for a Western film about an Eastern culture..
This film shows in great detail the temples of Tibet and the country scenes which have never been seen before and Scorsese looks deeply into the history of the Dalai Lama and how his religious convictions make his people love him from the bottom of their hearts.
Martin Scorsese deserves compliments for taking the time to portray the true story of the life of the fourteenth Dali Lama, a life that began in the turmoil of twentieth century conflict and continues today to appeal to the world to right the wrongs imposed upon his native land and people.
We see him go from a boy suddenly thrust into the role of this important figure in Buddhism, to a man having to deal with the Chinese occupation of his homeland.Probably the most important thing that the movie does is show that the Dalai Lama is more than a red-clad figure talking about peace and goodwill; he's a normal human being like the rest of us.
The Chinese occupation of Tibet and the escape of Tibet's spiritual leader, the Dalai Lama, are certainly stories that have the potential for great movie-making.
Scorsese has instead obviously wanted to concentrate on the story of the life of the 14th Dalai Lama as a boy and young adult and not on the Chinese occupation of Tibet, or the spiritual message of Buddhism.
Many others have failed and caused boredom, where this brilliant perfectly produced movie of Kundun aka His Holiness the Dalai Lama stands above the others in many ways.
): Kundun is director Martin Scorsese's take on the Dalai Lama- the second film on a similar subject in the same year(the other being Brad Pitt starrer Seven Years in Tibet) and neither films are what one would call great films.
Focusing on the life of the Dalai Lama, the film shows up closely in the Chinese government, which unfairly occupies Tibet.
Kundun, Martin Scorsese's beautifully realised story of the Tenzin Gyatso, the 14th Dalai Lama, is possibly his most divisive amongst fans.
Spirituality is woven into the movie's very fabric, as is the idea of watching a ready-made saint in action.A saint is precisely how Scorsese views the Dalai Lama, and Melissa Mathison's script paints him like a key religious figure whose teachings can now only be read in scripture.
Glass goes on to tell the story of a young Tibetan woman watching the filming of Kundun: "did it really look like that?"[she asked an older Tibetan friend] "Yes, it did".
The story of the fourteenth Dalai Lama might seem an odd subject matter for Martin Scorsese to tackle, but Kundun is definitely not your typical Scorsese film.
To get us in to the Buddhist mental state it must sacrifice in the script and drama departments (those who'll come looking for these two elements will be disappointed), but that is forgiven for the power of the magical ride Scorsese is inviting us into is overwhelming.For me, this is the best and most wholesome religious movie ever made- in no other film  has any director captured  such a vast and complex culture and way of life via the cinematic lens.There are scenes that still make me shiver with exhilaration after the 10th time I've seen them..
Even the very talked-about cinematography is exciting, with some exceptional moments.The topic is never explored with more detail (the life of the Dalai Lama), and for sure we stay with the feeling that something is missing.It's a movie that should be seen, but more as an appetizer for learning more about a great man..
This story of the fourteenth Dhali Lama as viewed by film legend Martin Scorsese captivated me with its images and colors.
By contrast, "Kundun" has nearly no acting, music I never want to hear again, and a plot that shows one small boy being pushed around by older people for his entire life.Minor note: Heinrich Harrer, the man who wrote "Seven Years in Tibet" does not show up in this film.
With close study and observation, concerning the Tibetan People, I have come to consider, that not so much Buddhism has come to Tibet, and created the likes of what can be seen all over, people in want of spiritual guidance or protection from the horrors of life, but that this particular multitude, the Tibetan People and with the whole of their Sprit World, truly converted to, and thus became, a true Buddhist People, a living Body, a Disciple of the teaching of Gautama Buddha.If you watch Kundun, the 1997 "official" story of the present Dalai Lama, notice the Shaman, the fortune teller.
It should be remembered that this film is noit meant to be a sweeping history of Tibet -- it is the story of the Dalai Lama told from his point of view.
After Little Buddha and Seven Years in Tibet this is the third movie about the Dalai Lama and Buddhism in general which I've watched recently.
I know that when one reviews movies, one's perspective is different - not necessarily better - just not the same.I like Martin Scorsese as a great director, as well a fascinating individual.