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One of the beauties of KUNDUN comes from the contrivance it preserves and recreates a culture that is now almost faded, of a Tibet which is now almost completely destroyed. And it is a delicate 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 tranquil so distinguished to human life. To notice this film is, first and foremost, like a meditation.

Dante Ferretti’s effect recreating faithfully the venerable costumes and building with a huge reality, with Roger Deakins splendid cinematography (which depth, nuances and richness of colors are so beautifully transferred on this DVD), as well as Philip Glass’s music, execute KUNDUN a visual poem. Also must be famous is Thelma Schoonmaker’s complex editing which explores and reveals the complexity of the myth and giving them a shapely, 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 understanding, and it brings the film up to an fabulous spiritual level. Yet, Scorsese does not reveal Tibet as an idyllic and idealized society. By using the young Dalai Lama’s point of thought as a legend strategy throughout the film, by showing almost everything through his eyes, the film also glimpses at the complexity of the Tibetan society and its enjoy problems; “I didn’t know monks has guns” “Is there a prison in Potala” says the 12 years broken-down Dalai Lama.

Violence, or human distress to be more real, is also display in this film. An wonderful nightmare sequence shows the Dalai Lama in the midle of thousands of dull 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 remarkable as it is a beautifully created dramatic allotment. A particulary poignant moment is when the Dalai Lama gives audience to his people, an used 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 assign a photo of the exact 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 narrate 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.

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As different as it may seems on the surface level, KUNDUN also explores the familiar Scorsese themes, of the quandary between religious spiritual values of human trying to be pleasant, and the harsh reality of the world they live in and their enjoy human vulnerabilities inside them; a conflict that has been always demonstrate in his films since WHO’S THAT KNOCKING ON MY DOOR and MEAN STREETS, the predicament 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 beget predicament that drives him arrive 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 incredible how, after witnessing so remarkable violence and nettle, he could approach such a spot of peace in mind.

Most of the people in the film are non-actors; staunch Tibetans (the Dalai Lama’s mother is played by one of his have 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 camouflage.

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Mr.Scorsese told me in an interview last year “It was almost like a prayer to beget this movie. And my life has changed, to clear extent”. I possess this film has the same effects, to distinct extent, to us viewers as well.

The film also carries an notable political– Mr.Scorsese says he grasp the word “human”– message: “Non-violence is the only revolutionary plan left to us”, says Martin Scorsese.

I’m really elated to gaze so many distinct reviews! I savor this movie. Martin Scoresese. Phillip Glass. The Dali Lama. How can you go evil? I remember watching this the first time and liking it, but feeling like it lacked cohesion. It does engage awhile for the Kundun to primitive to an adult so we can identify with him and care about him.

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But now I glance at the film as being almost two seperate parts. The first half shows us the Dali Lama as a child who must acquire on the role of Kundun and gives us a very plain (and dazzling) sense of envioronment and atomosphere. It also queitly 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 agressive 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 contemplate again…) behold it once and say it was boring and they didn’t care about the Dali Lama character enough. Well if you only peer it once you won’t be able to explore the detail (like the shot of the Kundun looking at Mao’s shoes, or the baby Kundun separating the fighting beatles) , and depth that accomplish up the fabric of this movie. There are all kinds of gigantic shots and expeditiously edits (the 3 seconds of violence in this film are more much then the lengthened violence in other films) , and symbolism that you simply can’t salvage your mind around the first time you contemplate this movie. Having said all of that, the cinematogrophy alone would design this movie worth getting. And at $10, you effect out like a bandit.
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