Kundun

Kundun is one of those films that doesn’t have much that sticks out as being “horrible” or “a waste of time”, but perhaps it’s a little too big for its britches.

Martin Scorsese seemed to be a strange choice to direct a film about the Dali Lama. His Catholic upbringing is a common theme in his work, particularly in his early films. Yet here he is with his name attached to Kundun, a coming-of-age film about Tibet’s fourteenth Dali Lama.

Although I admit to not being an expert in the historical context of Tibet and the plight of the Dali Lama, it seems far too complex a story to squish into two hours. As a result the film takes tremendous leaps and is forced into simply stating the major events rather than the smaller ones that likely shaped the choices.

Kundun is a very beautiful film filled with rich scenery, intricate costumes and Scorsese’s lyrical camera. Again he proves that dialogue isn’t needed to achieve genuine drama but rather creative camera manipulation and editing techniques.

My senses were also tickled by Philip Glass’s marvelous soundtrack. Like his work on the Qatsi films, his sound is disjointed yet harmonious at the same time.

Although visuals and sound are both integral parts of film, perhaps they’re too much a distraction here. The story covers a lot of ground and many themes ranging from the political to the personal. The Dali Lama has to come into his own, he must learn to lead, he has a family both in the temple and at home. There’s also the conflict between Tibet and China, the global diplomacy efforts, the future of Buddhism. A lot of ground is covered in Kundun, but because it’s so big, no one or two themes get developed with the necessary depth.

There’s no denying the artistry of Kundun. Its heart also appears to be in the right place. But for those like me who don’t have a versed history in the modern history of Tibet or Buddhism, the scope is ultimately too big.