Mongol


Mongol

There are more than four horseman of the apocalypse in Mongolia.

(2007) Biographical Drama (Picturhouse) Tadanobu Asano, Honglei Sun, Khulan Chuluun, Odnyam Odsuren, Aliya, Ba Sen, Amadu Mamadakov, Ba Yin, He Qi, Su Ben Hou, Ji Ri Mu Tu, A You Er, Hong Jong Ba Tu, E Er Deng Ba Te Er, Sai Xing Ga, Bayersetseg Erdenebat. Directed by Sergei Bodrov

 

Speaking for myself personally I have a great love for history. Understanding what has happened in our past helps us to understand who we are in the present. The history of Asia, Africa and Australia are largely unknown here as we are mostly taught the history of the United States and Western Europe.

Temudjin (whose name should properly be spelled Temuchin) would later be known as Genghis Khan, a man even ignorant Western ears have heard of. However, as the movie opens up, he is a little boy (Odsuren) whose father (Sen) is a warlord who needs to see his son betrothed. While his father is eager for a more politically advantageous union, his son becomes smitten with Borthe, a young girl (Erdenebat) with a feisty nature. Temudjin manages to convince his father to allow him to become betrothed to Borthe, promising that he will come to claim her in five years. The party heads for home.

On the way home his father is poisoned by a treacherous tribe betraying the Mongol tradition of hospitality. His father names him Khan which doesn’t sit well with the rest of the warriors who know that Temudjin’s mother was the war prisoner from a different tribe.

One of those warriors, Targutai (Mamadakov) spares the life of the young Temudjin, claiming that Mongols don’t kill children but they apparently do leave them in the steppes to die. Temudjin is found face down in the snow by Jamukha who becomes his blood brother.

Later, Targutai captures Temudjin and enslaves him. He escapes and grows to manhood (Asano) without a tribe. He is once again captured by Targutai who is now free to kill the adult Temudjin but the young man escapes anyway and this time finds Borthe (Chuluun) and resolves to bring her back to his family. However, they are attacked by the tribe Temudjin’s mother had been captured from and he takes an arrow. Borthe whips the horse Temudjin is on, sacrificing herself for the man she loves and becomes the slave/concubine of the warlord Chiledu (Ga).

Temudjin approaches Jamukha (Sun), now a Khan himself, and asks for help in liberating his wife from the Merkit. Jamukha agrees to this, but a year passes before the attack actually takes place. In the interim Chiledu has passed away and Borthe has had a son by Chiledu. Temudjin takes the son as his own, despite the mutterings of both his own warriors and those of Jamukha. The next morning when Temudjin takes his leave to return home, a pair of warriors from Jamukha’s tribe accompany him since Temudjin distributes more plunder among his warriors than their former Khan. Jamukha rides after them and demands their return but Temudjin responds that every Mongol is free to choose their own Khan. Jamukha warns Temudjin that this will undoubtedly lead to future conflict which it does when Jamukha’s brother is killed attempting to steal the horses back of the warriors who had defected to Temudjin’s tribe.

Jamukha has vast numerical superiority and quickly overwhelms Temudjin’s forces. Rather than execute his childhood friend, however, he chooses to sell him into slavery. Borthe is misinformed that her husband is dead. Will Temudjin be able to escape once again?

This is  magnificent sprawling epic of the sort that David Lean used to make. Using a pair of cinematographers, Bodrov manages to create magnificent vistas of the barren steppes as well as lovely recreations of ancient Ulan Bator (the Mongolian capital) as well as villages of the era. This is as beautiful-looking a film as you’re likely to see in the last five to ten years.

It also boasts the fine Japanese actor Asano. While the movie is subtitled, Asano is magnificent with his facial expressions. You may not always understand what he’s saying but he conveys everything he is thinking and feeling with his face and eyes, his expressiveness giving flesh and blood to the historical figure Temuchin. Asano also has fine chemistry with Chuluun who amazingly enough is not a professional actress but was someone that the casting director met in the Russian embassy in China when she was leaving after having searched fruitlessly for the right actress to play Borche.

Now, as far as historical accuracy is concerned things get a little dicey. For one thing, not much is really known about the great Khan’s childhood and young adult life as the Mongolians didn’t really believe in written records. Much of what we see onscreen is conjecture and to be honest some of it seems somewhat unlikely given what few facts we do know.

There are plenty of battle scenes here with lots of arterial blood spurting in graceful parabolas through the air to liberally coat the camera lens. It can be pretty brutal and not for the squeamish. We also don’t get a whole lot of insight into everyday life on the steppes. We just get the sense that Temuchin went from slavery to battle to battle to slavery and so on. I’m quite sure there was more to his life than that.

This was the first film in a projected trilogy which unfortunately will not be completed – the other two to cover his rise as Genghis Khan and his eventual fall. While the remote locations helped keep costs down in making this movie, the movie was nevertheless unprofitable and the great difficulty in making the movie to begin with has essentially derailed the project permanently. I would have liked to have seen those films, but at least we have this one to excite our imaginations and certainly Mongol does that expertly.

WHY RENT THIS: Stunning cinematography. Asano turns a magnificent performance in.

WHY RENT SOMETHING ELSE: Drags in places and is probably a good 15-20 minutes too long.

FAMILY VALUES:  There are some battle sequences that are quite bloody and gory.

TRIVIAL PURSUIT: The movie was filmed on location in Kazakhstan and Inner Mongolia (a province of China where more Mongolians live than in Mongolia itself) in places so remote that roads had to be built by the crew in order to travel there, and where dailies – which normally take 24 hours to make it back to the production, took three weeks to arrive.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $26.5M on an $18M production budget; the movie lost money during its theatrical run.

FINAL RATING: 8/10

NEXT: 21 Jump Street

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Babies (Bebes)


Babies

Laughing all the way to the bank.

(2010) Documentary (Focus) Bayar, Hattie, Mari, Ponijao. Directed by Thomas Balmes

 

As a species, we have a thing about babies. Now, that doesn’t differentiate us much from any other species – procreation is, after all, a survival imperative. However, what does is that we obsess about the babies of other people, not just our own. While other species will protect the babies of those within their own family or group, they don’t particularly show much interest beyond that. You don’t see a lion cooing over another lion’s cub.

Of course, lion’s don’t coo either. However, humans can and do and will. Here we have plenty of opportunity to coo. This is a French documentary about four babies born in four different parts of the world – Hattie in San Francisco, Ponijao in tribal Africa (Namibia to be exact) Bayar on the frozen steppes of Mongolia and Mari in bustling Tokyo. The film covers roughly the first year of their life, from shortly after birth.

What differentiates this movie is that there are no cute graphics, no narration and no attempt of some Hollywood star to read a script from a writer who purports to know what the babies are thinking. This is not a Disney nature film in other words. There are no statistics, nothing particularly depressing, just 78 minutes of watching babies do their thing, be it nursing, snoozing, smacking other babies about the head, playing with toys, crawling, crying and being cuddled.

While it is a fresh approach (and welcome to most), therein lies the issue for me. It really is completely observational of the babies themselves and while that can be fascinating for a short time by the end of the movie (and it’s a short movie folks) I found myself fidgeting. It’s really akin to watching someone else’s home movies, albeit with better production values. Most of us don’t have HD film cameras and high-end film stock; we mostly have to settle for digital cams and cheap home video recorders, even cell phone video cameras.

That said, there are a lot of people who are going to ooh and ahh over this and there’s nothing wrong with that. If you love babies in general, you will find your nirvana here. All of the kids have definable personalities and indulge in all manners of cuteness, whether they are in a yurt or a pricy Tokyo apartment. There is also a lot of nudity, both from the babies and their moms (and in the case of Namibia, most of the rest of the tribe as well although the men are rarely seen).

The cinematography can be quite beautiful, ranging from the gorgeous Bay Area shots to the majestic but desolate Mongolian steppes, the hyper-kinetic Tokyo cityscape to the dry and dusty African plains. You will certainly get a sense of the environment each baby is growing up in and no value judgments are made either – the ones growing up in abject poverty are no less happy than the ones growing up in the West.

I’m not really a baby person. They’re cute, sure, but I don’t need to spend a whole lot of time around them. I’ve kinda done my time. So take this with a grain of salt – I admire the technical end of the film, the filmmaker’s dedication to giving an unfettered, unvarnished look at babies around the world. I know that there are plenty of people who are going to love this movie.

I’m just not one of them. It was a little like watching paint dry from my aspect, and having a repetitive musical score didn’t help matters. Maybe I’m a little too MTV but I need a bit more than a static camera focused on a bunch of proto-humans who left to their own devices would eat dirt. Not my cup of tea – but that doesn’t mean it couldn’t be yours, nor are you any worse a person if it isn’t.

WHY RENT THIS: Cuteness personified. Reaffirms that we are more alike than not.

WHY RENT SOMETHING ELSE: Is like a 78 minute home movie; if watching someone else’s baby isn’t your thing, you’re going to get restless.

FAMILY VALUES:  There is nudity here of the maternal sort; some nursing and such. If that offends you, this might not be the film for you..

TRIVIAL PURSUIT: Ponijao belongs to the Himba tribe who live near Opuwo, Namibia.

NOTABLE DVD EXTRAS: There is an update on how the children are doing three years after they were filmed. There is also the winners of a studio-sponsored contest in which parents were urged to submit baby videos.

BOX OFFICE PERFORMANCE: $9.5M on an unreported production budget; the movie was almost certainly profitable.

FINAL RATING: 5/10

TOMORROW: This Means War