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Kundun is a 1997 American Epic film biographical film written by Melissa Mathison and directed by Martin Scorsese. It is based on the life and writings of Tenzin Gyatso, the 14th Dalai Lama, the exiled political and spiritual leader of Tibet. Tenzin Thuthob Tsarong, a grandnephew of the Dalai Lama, stars as the adult Dalai Lama, while Tencho Gyalpo, a niece of the Dalai Lama, appears as the Dalai Lama's mother.
"Kundun" (སྐུ་མདུན་ in Tibetan script), meaning "presence", is a title by which the Dalai Lama is addressed. Kundun was released only a few months after Seven Years in Tibet, sharing the latter's location and its depiction of the Dalai Lama at several stages of his youth, though Kundun covers a period three times longer. It was the final film penned by Mathison to be released before her death in 2015, although her final project, The BFG, was released posthumously.
These and other administer a test to the child in which he must select from various objects the ones that belonged to the previous Dalai Lama. The child passes the test, and he and his family are brought to Potala Palace in Lhasa, where he will be installed as Dalai Lama when he comes of age.
During the journey, the child becomes homesick and frightened, but is comforted by Reting, who tells him the story of the first Dalai Lama–whom the lamas called "Kundun". As the film progresses, the boy matures in both age and learning. After a brief power struggle in which Reting is imprisoned and dies, the Dalai Lama begins taking a more active role in governance and religious leadership.
Meanwhile, the Chinese communists, recently victorious in their revolution, are proclaiming Tibet a traditional part of Imperial China and express their desire to reincorporate it with the newly formed People's Republic of China. Eventually, despite Tibet's pleas to the United Nations, the United States, the United Kingdom, and India for intervention, Chinese Communist forces invade Tibet. The Chinese are initially helpful, but when the Tibetans resist Communist reorganization and reeducation of their society, the Chinese become oppressive.
Following a series of atrocities suffered by his people, the Dalai Lama resolves to meet with Chairman Mao Zedong in Beijing. While Mao publicly expresses his sympathies to the Tibetan people and the Dalai Lama, and insists that changes must be made as the Dalai Lama sees fit, relations inevitably deteriorate. During their face-to-face meeting on the final day of the Dalai Lama's visit, Mao makes clear his view that "religion is poison" and that the Tibetans are "poisoned and inferior" because of it.
Upon his return to Tibet, the Dalai Lama learns of more horrors perpetrated against his people, who have by now repudiated their treaty with China and begun guerrilla action against the Chinese. After the Chinese make clear their intention to kill him, the Dalai Lama is convinced by his family and his Lord Chamberlain to flee to India.
After consulting the Nechung Oracle about the proper escape route, the Dalai Lama and his staff put on disguises and slip out of Lhasa under cover of darkness. During an arduous journey, throughout which they are pursued by the Chinese, the Dalai Lama becomes very ill and experiences two personal visions, first that their trip to India will be propitious and that, similarly, their eventual return to Tibet will also be propitious. The group eventually makes it to a small mountain pass on the Indian border. As the Dalai Lama walks to the guard post, an Indian Border guard approaches him, salutes, and inquires: "Are you the The Buddha?" The Dalai Lama replies with the film's final line: "I think that I am a reflection, like the moon on water. When you see me, and I try to be a good man, you see yourself." Once the Dalai Lama arrives at his new residence, he unpacks his telescope and steps outside. Erecting it and removing his spectacles, he gazes through it toward the Himalayas–and toward Tibet. The film concludes with two lines printed on screen: "The Dalai Lama has not yet returned to Tibet. He hopes one day to make the journey."
Universal Pictures had a deal to produce Kundun, however, after the studio was purchased by Seagram, CEO Edgar Bronfman Jr. worried about the impact on the larger beverage business and declined to move forward with the film, resulting in it ending up at Disney. Disney CEO Michael Eisner permitted the shooting of "Kundun" to proceed but, due to Chinese Communist Party pressure, he limited the film's distribution and marketing. "Kundun" was released on Christmas Day in 1997 in only two theaters nationwide.
Scorsese planned on shooting the film in Ladakh in India, but instead did it in the Atlas Mountains of Morocco, near where The Last Temptation of Christ was filmed. Most of the film was shot at the Atlas Film Studios in Ouarzazate, Morocco; some scenes were filmed at the Karma Triyana Dharmachakra monastery in Woodstock, New York. "Young Spiritual Leader Arrives in New York Ready to Teach and Be Taught" from the New York Times May 16, 2008 Filming in Morocco meant that Scorsese had to wait eight days for the processed dailies to arrive and then Thelma Schoonmaker would have to wait an additional four days.
Scorsese's previous film, Casino, only had two while Kundun had forty. The Dalai Lama was consulted for the film's set design. Dancers from the Tibetan Institute of Performing Arts were used for the film.
Disney apologized in 1998 for releasing the film and began to "undo the damage", eventually leading to a deal to open Shanghai Disneyland by 2016. Former Disney CEO Michael Eisner has apologized for offending Chinese sensitivities, calling the film "a stupid mistake." He went on to say, "The bad news is that the film was made; the good news is that nobody watched it. Here I want to apologize, and in the future we should prevent this sort of thing, which insults our friends, from happening."
By 2015 Scorsese's ban had apparently been lifted as he attended the premiere of his short film The Audition in Macau.
It was released on DVD and Blu-ray by Kino Lorber in 2019.
[[Metacritic]] calculated an average score of 74 out of 100 based on 26 reviews, indicating "generally favorable" reviews.
Roger Ebert gave the film three stars out of four, saying it was "made of episodes, not a plot". Review by Roger Ebert Stephen Holden of The New York Times called the film "emotionally remote" while praising its look and its score: "The movie is a triumph for the cinematographer Roger Deakins, who has given it the look of an illuminated manuscript. As its imagery becomes more surreal and mystically abstract, Mr. Glass's ethereal electronic score, which suggests a Himalayan music of the spheres, gathers force and energy and the music and pictures achieve a sublime synergy." Richard Corliss praised the cinematography and score as well: "Aided by Roger Deakins' pristine camera work and the euphoric Drone music of Philip Glass's score, Scorsese devises a poem of textures and silences. Visions, nightmares and history blend in a tapestry as subtle as the Tibetans' gorgeous of sand." David Edelstein called the movie a hagiography whose "music ties together all the pretty pictures, gives the narrative some momentum, and helps to induce a kind of alert detachment, so that you're neither especially interested nor especially bored." Mark Swed, writing in the Los Angeles Times, also lauded the musical score, opining that "it sounds neither like typical movie music, nor is it actual Tibetan music, however much Tibetan elements color and shape the score. It sounds, unmistakably, like Glass."
Michael Wilmington of The Chicago Tribune gave the film four stars out of four, writing: "Hauntingly beautiful, raptly serious and vastly ambitious, Kundun is exactly the sort of movie that critics complain the major Hollywood studios never make -- and then tend to ignore or underrate when it finally appears."
Barry Norman at the BBC opined that Kundun was "beautifully and intelligently made, far more impressive, for instance, than the recent Seven Years in Tibet". As Kundun was released in the UK four months after its original release, Norman was able to probe Scorsese about the film's promotion. Writing about his interview with Scorsese, Norman said,
Yet it seems to be Scorsese, rather than the studio, who is doing most to promote the film. So I asked him "Did Disney back you up when it came out? Did they really put themselves behind it to try to sell it?" Now Scorsese is a decent and diplomatic man, who likes to be fair to everybody, but eventually he said: "I personally think that, unfortunately, they didn't push the picture." For fear of offending China? "Who knows?" he said. But, perhaps significantly, he also said: "The market China represents is enormous, not just for Disney but many other corporations around the world."
| Academy Awards | Best Art Direction | Art Direction: Dante Ferretti; Set Decoration: Francesca Lo Schiavo | |
| Best Cinematography | Roger Deakins | ||
| Best Costume Design | Dante Ferretti | ||
| Best Original Dramatic Score | Philip Glass | ||
| American Society of Cinematographers | Outstanding Achievement in Cinematography in Theatrical Releases | Roger Deakins | |
| Australian Film Institute | Best Foreign Film | Martin Scorsese and Barbara De Fina | |
| Boston Society of Film Critics | Best Cinematography | Roger Deakins | |
| Chicago Film Critics Association | Best Cinematography | Roger Deakins | |
| Best Original Score | Philip Glass | ||
| Film Critics Circle of Australia | Best Foreign Film | Kundun | |
| Golden Globe Awards | Best Original Score | Philip Glass | |
| Heartland Film Festival | Truly Moving Picture Award | Martin Scorsese | |
| Los Angeles Film Critics Association | Best Music | Philip Glass | |
| National Society of Film Critics | Best Cinematography | Roger Deakins | |
| New York Film Critics Circle | Best Cinematographer | Roger Deakins | |
The movie inspired the writing of the 2008 song "Chinese Democracy" off the album of the same name by hard rock band Guns N' Roses.
In 2017, the web series Lasagna Cat featured the film's complete score in the hour-long episode "07/27/1978", in which John Blyth Barrymore delivers a philosophical monologue about a Garfield strip published on the titular date.
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