In this, the second film of the year to feature the Dalai Lama, the focus here is on the spiritual leader himself, whereas the earlier film, "Seven Years in Tibet," focused on an Austrian mountain climber who befriended the young leader. Supposedly based on the Dalai Lama's own writings and words, this film forgoes any mention of Heinrich Harrer (Brad Pitt's character in that other movie), and instead presents what appears to be a rather straightforward, chronologically historical story.
In doing so, the unfolding events that span the years from Kundun's "terrible-two's" to his young adulthood come across as interesting, but rather flat drama. Of course once the communist Chinese slowly infiltrate and finally invade Tibet, the movie becomes more interesting simply because it has introduced some conflict. Without conflict there is no drama, and without drama you simply have a documentary style film. One really can't fault screenwriter Melissa Mathison ("E.T.," "The Indian in the Cupboard") too much for this. If she was trying to be historical, she obviously wouldn't want to add fictitious characters or plot points, and thus was left with a lackluster, but "accurate" story.
To get around this, director Martin Scorsese pulls out all of his tricks to make sure the picture is fascinating to watch. Visually the film is a masterpiece, and that alone should hold some of the audience's interest during the slower moments. From the early stark, desert-like settings to the majestic mountains and regal trappings inside Lhasa, the film is amazing to behold. A nightmare sequence where the Dalai Lama stands amidst hundreds of slain monks is not only disturbing, but is also a stunning piece of camera work as Scorsese reveals more and more bodies as the camera continues to pull away from the scene.
The movie is also the antithesis of what most would stereotypically expect of a Scorsese picture. When people think of this talented director, the images of tough, profanity spewing characters who use violence as a means to an end come to mind. Films like "Goodfellas," "Taxi Driver," and the recent "Casino" are the "typical" works he delivers. Yet people forget that he also directed 1993's "The Age of Innocence," and 1988's controversial "The Last Temptation of Christ," two polar opposites of those tough films and something much more in tune with this production.
Yet, where those films had decent plots, the most complicated this film ever gets is having Kundun decide whether he should stay or go once the Chinese have invaded. The interesting part of that is that we're told early on that Dalai Lama means "ocean of wisdom," but the spiritual leader takes a long time to use that wisdom to make a choice. Certainly that makes him more human, but that's one of the rare times he's that way. For the rest of the film (from a teen through young adulthood), Kundun is a rather serious man and that translates onto the big screen as boring. Being monks, the rest of the cast also comes across that way and many audience members will find this film as appealing as watching the paint dry on the side of a monastery.
There are a few fun moments, however, such as when Kundun's father slaps his young son's hand for pulling on his mustache. The toddler first looks surprised and hurt, and then suddenly shows a devilishly indignant look of "how dare you slap the hand of Tibet's spiritual leader?" Unfortunately those moments are rare and make you long for something -- anything -- to happen. No, Brad Pitt never shows up, although including Herrer's presence may have injected this film with some much needed dramatic energy. The four actors who represent the different ages of Kundun over the years all do a decent job, but after the bratty (and dramatically welcomed) behavior of the two-year-old, the rest of the performances are decent but nearly emotionally flat.
Thus Scorsese must rely on his heavy symbolic visuals that become hypnotic after a while (or perhaps that was boredom slowly setting in). He certainly gets his money's worth from New Age composer Philip Glass, whose haunting, nearly nonstop score adds drama where there inherently is none, particulary in the film's first half. His best cinematic composition since 1983's brilliant time-lapse masterpiece, "Koyaanisqatsi," Glass' score beautifully compliments Scorsese's direction and Roger Deakins' wonderful cinematography. The film also uses an interesting mix of his score with the more traditional sound from the long horn instruments and their deep, haunting notes. Both are quite effective and greatly appreciated in helping keep the movie interesting.
For a film that focuses on the upheaval created by the communist Chine takeover of Tibet, the "intruders" are given the most sympathetic treatment I've probably ever seen (except for films made in China). While they eventually get around to some atrocities (implied or only seen in nightmares), they don't come off as the villains that one would expect in a film like this. Of course if this is truly based on the Dalai Lama's works, one shouldn't be too surprised -- he'd obviously cast a somewhat benevolent eye toward them, no matter their past indiscretions.
Unfortunately, the movie takes that same approach and thus forfeits what should have generated some conflict-based drama. As it stands, the film is often stunning to watch and features an impressive score, but is rather boring in telling its story. Some people may find it fascinating to watch (particularly if they have an interest in the subject matter), but others might find it too tedious to sit through without a nap. We fall into the middle and thus give "Kundun" a 5 out of 10.