The plight of the 14th Dalai Lama had become a bit of a commercial affair in the 1990s, with Free Tibet concerts and other hoopla. It can be difficult sometimes to relate to causes that are happening on the other side of the globe. Without knowing the full story, world issues unfortunately aren't debated or prioritized as often as they should be. That's where a movie like Martin Scorsese's Kundun can be helpful. Although decidedly anti-Chinese, it provides much of the backstory that is required to understand how in the 1950's, the most revered person in a country could be forced to go into hiding.
What impressed me most about Kundun was its unabashed respect for the Tibetan culture and religion. I'd always assumed their faith in the concept of the Dalai Lama was based more on a need for leadership but, as Scorsese so tastefully demonstrates, it is their faith in tradition -- and particularly in re-incarnation -- that forms the basis of their beliefs. They are a people who hold destiny as a compass and silent contemplation as a way of life. That an outsider (Scorsese) can re-create these fundamental tenets in order to inspire and educate is no small feat.
He is aided by a cast predominantly made up of real monks and Tibetans who speak in English. It's an important decision and one that enhances its accuracy and believability throughout. Tenzin Yeshi Paichang plays the 2-year old Dalai Lama, and the film follows his fated journey at ages 5 (Tulku Jamyang Kunga Tenzin), 10 (Gyurme Tethong), and finally adulthood (Tenzin Thuthob Tsarong). As the spiritual leader grows older he yearns to learn more about his people and the outside world, until he is finally forced to address the issue of a communist China that is threatening to invade his country. There is a highly involving scene between the Dalai Lama and Chairman Mao that is heartbreaking and infuriating all at once.
I marvelled at the lushly ethnic costumes, the stunning cinematography, and the fantastic music in this film (provided by Dante Ferretti, Roger Deakins, and Philip Glass respectively). There are some fantastic sequences, particularly in some key symbolic moments, as when the young Dalai Lama looks up at adults from behind a red blanket, foreshadowing a future need to see his people through the Red Curtain. Or a burial scene where buzzards begin to ravage a corpse while the characters discuss the plight of the Tibetan people in light of China's overbearing presence.
It's hard to discuss Kundun without thinking of another film from the same time, Brad Pitt's Seven Years of Tibet. That film has its own merit, but Kundun is infinitely better. It is captivating and enriching, and although admittedly a risk for Scorsese to take, an appreciated one all the same.
