All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The Tibetans refer to the Dalai Lama as 'Kundun', which means 'The Presence'. He was forced to escape from his native home, Tibet, when communist China invaded and enforced an oppressive regime upon the peaceful nation of Tibet. The Dalai Lama escaped to India in 1959 and has been living in exile in Dharamsala ever since.
Film #74 of Project 90
”I see a safe journey, I see a safe return.”
Martin Scorsese makes a biopic about a religious leader who has encouraged peace and non-violence all his life, now that’s a surprise. I still can’t find the connection between this one and Scorsese’s other films, is it the same old story of a lonely man who is struggling to restore balance to his own life? I don’t think so. First of all Kundun is a biopic full of historical and political references, it focuses on a very controversial issue (The Chinese government was so upset with the film that Scorsese was banned from ever entering China) and portrays a turbulent and pretty much chaotic period…
Kundun is a prime example of brilliant filmmaking. Scorsese's direction is fantastic as always and Roger Deakins' cinematography is breathtakingly gorgeous. The films musical score is pretty great as well. So why such a low score? I simply couldn't bring myself to connect with any of the characters or their interactions. The story really didn't capture my attention either making it a bit of a chore to sit through. The run time certainly didn't help either. I have no problem with long movies and I definitely have no problem with long Scorsese movies (Casino is nearly 3 hours and it's one of my all time favorites), but this film just didn't hold my interest. So despite the fact that it is extremely well made, I give Kundun a 5/10.
Scorsese really throws his back into the Philip Glass score, but overall it was little too zen for me.
Kundun remains a really fascinating effort, a second religious epic from Martin Scorsese, though one that he appears to have a lot less invested directly in than The Last Temptation of Christ and this lack of emotional engagement is evident in the final film.
The film is gloriously shot, showcasing some of the best work by Roger Deakins, in a career of great work, his camera is stately, and every shot is precisely handled for maximum effect. Philip Glass is the other vital aspect of this film, his Kundun score is a masterpiece, one of the great scores of the 1990s, modern and ancient, otherworldly but earthy. However, as I said the film is distant, Scorsese and the writer Melissa…
Riveting visuals from modern master Roger Deakins. Chilling and mythic score from Philip Glass. Pitch-perfect editing from Thelma Schoonmaker. An underrated Scorsese gem.
Surprisingly straight biopic but with a rather great opening 1st act which plays up the Dalai Lama mysticism before it has to deal with more tangible elements.
Let's start with the most obvious point - visually, Kundun is gorgeous. The camera lingers on breathtaking scenery and beautiful ceremonies, and even the very brief moments of violence are filmed for maximum, stunning impact. Philip Glass's score is the icing on the cake; as far as sight and sound go, Kundun is great. So why have I heard it mentioned even less in discussions of Martin Scorsese than the criminally underrated The King of Comedy?
Well, you could say, would anyone really expect the director of Raging Bull and Taxi Driver to turn around and make a film about the Dalai Lama? How could you reasonably group those films together? There's a grain of truth in this, as Scorsese…
Just proves that all the talent in the world (Scorcese, Schoonmaker, Deakins, Glass) firing on all cylinders still can't save dull material.
Watching Kundun again after something like six years was incredible as the film's impact was no less powerful than the first time I saw it. This could be Martin Scorsese's most artistic film ever. It’s an amazing feat.
What blows me away most about this film is how well Scorsese understood the material, the Tibetan culture, and how much respect he and screenwriter Melissa Matheson had for it. I guess after working on so many mobster movies, it was easy for the director to shift gears and look at the other end of the spectrum - that of the Buddhist practice of non-violence.
And there's no other film I can compare this to. This is one of the most original…
Visually gorgeous thanks to Deakins' photography (particularly the macro stuff) and the set/costume design. Convincing performances and expectedly great Glass music are there too, but otherwise? Even Scorsese and Schoonmaker more audacious movement and editing choices can't bring something rather shapeless fully to life.
"they've taken away our silence"
There is something truly impressive when a director/writer/actor can express a foreign world without it seeming like a translation from an outsider. If I didn't know Scorsese directed this I would have thought it was someone from Tibet. (also if it wasn't all in English dialogue)
Gets very preachy
When it doesn't need to be.
Let the story play!
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
- The Brood
- Winter Light
- The Changeling
No idea if there is a list for this yet, but I think I will keep this as kind of…