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This film has some of most breathtaking scenery ever filmed. Shot high up in a remote set of the Himalayas that has seen very few foreigners, it focuses on the Tibetan people who live in an position of the mountains called Dolpo. These people are referred to as Dolpopas. The care for that the director, Eric Valli, has for this residence of the world is palpable with the loving care and attention to detail that is lavished on this production. Shot at heights of up to 17,400 feet, this film is a tall achievement both cinematically and historically, as it locks in time a slight known culture and blueprint of life.
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The myth, which is based upon accurate life events, details a generational struggle between the young and the feeble. The storyline is simple. This isolated village is dependent upon trading its salt for grain, so that the village may survive. To do so, a caravan of yaks must accomplish an arduous jog through the Himalayan Mountains to Nepal to attain such a trade. When one such caravan returns to the village, the caravan chief, is dumb and his body has been brought support to the village by his best friend, Karma. The dumb chief’s father and tribal council memeber, Tinle, crazed with wretchedness, suspects Karma of having brought about his son’s death in an attempt to acquire his dwelling as chief of the caravan. His boring son has left slack a pretty wife, Pema, whom Karma covets, and a young son, whom Tinle wants designated as chief, despite his youth.
This sets into play a power struggle between Tinle and Karma, both of whom are headstrong and willful. After the former sky burial for the expressionless caravan chief, this clash of wills results in two separate caravans setting out on the salt trading amble. One is led by Karma who, accompanied by the village youth, defiantly leads his caravan out of the village before the date designated by the village lamas. The other is led by Tinle, who has persuaded his other son, Norbou, a Buddhist monk, to aid him. Accompanied by Norbou the elders of his village, as well as by his insensible son’s widow and young son, Tinle follows tradition and leaves on the date that the lamas have designated as being most propitious for the difficult paddle. The film details each of the respective journeys, as well as the continuing battle of wills between the two leaders. The risks that Tinle takes on the plug in order to to regain up with Karma is captured in all its starkly handsome, cinematic majesty and will leave viewers sitting on the edge of their seats.
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Set against a breathtaking backdrop of Himalayan beauty, this is a must peer film. The performances by those in lead roles are compelling. Thilen Lhondup, a true life used yak man who had fled Tibet during its invasion by China, is charismatic and much as Tinle. Gurgon Kyap imbues the role of the headstrong Karma with a youthful vigor and machismo. Lhakpa Tsamchoe, an exotic beauty who hails from Southern India by blueprint of Tibetan parents, is wonderfully quiet in the role of Pema. Karma Wangel is absolutely adorable as Tinle’s grandson and will occupy the viewers’ hearts.
Anthropologically rich and visually radiant, it took the director nine months to film this movie. The daunting logistics, the unpredictable weather, and the expend of mostly non actors contributed to this being a time moving project. In order to believe as mighty authenticity as possible, this film was shot entirely on place and the villagers even wore their occupy clothing in the film. The director’s care and wretchedness paid off, however, as this is one of the most stunningly shapely films ever made. The musical get by Bruno Coulais is haunting, capturing the soaring majesty of the plot, as well as some of its mystique. It also offers what I possess to be Tibetan throat singing, a somewhat esoteric manufacture of singing/chanting not often heard in the western world.
This film, which was first released under the title “Caravan”, was nominated for an Academy Award for Best Foreign Language Film in 2000. I maintain that it lost to Pedro Almodovar’s film, “About My Mother”, which is also an wonderful movie. Having seen both films, however, there is no doubt in my mind that Valli’s film should have been the one to hurry away with the Academy Award.
The DVD is first rate, providing crystal definite visuals and audio. It is a value laden DVD, loaded with a number of bewitching features. It offers a terrific director’s commentary, as well as a appetizing and informative featurette by Debra Kellner on the making of the film. There is also another keen featurette, entitled “Electronic Press Kit”, that contains some consuming film clips and montages as to how positive things were done on the film, given the daunting logistics. This is a must have DVD for those who are enthusiastic in other cultures, the Himalayas, and, quite simply, a huge film. Bravo!
This extraordinary film gets my nod when it has been nominated for academic award for the best foreign film 2000. I have watched this movie today and really angry to write a review. It’s an inspirational, coming-of-age, narrative about Chief’s pursuit to ogle after the people in his village Dolpa and the obstacles in his path. I have been to Dolpa, infact I have seen these people around having same kind of life. The people in the movie are genuine and their customs are valid too. The myth has been greatly supported by mind blowing scenic notion of Nepal and its culture. The himalayas, villages, Foksandu lake are loyal and it has become the heart of this movie. On top of that this movie also reflects the culture which is dying at this information age. Thanks for the director and photographer for creating such a nice movie.
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