The most annoying thing about the Tibet vogue that
has swept Hollywood is that the actors and trendies who have hopped
on this bandwagon are under the impression that Lhasa was some
kind of delightful Shangri-La prior to the coming of the Chinese.
In fact, it was run by a brutally oppressive and corrupt theocratic
regime. Somehow, director Scorcese had the courage to at least
hint at the atrocious state of affairs in Tibet under monastic
rule. Further, his cast is made up exclusively of Tibetan, Chinese
and Indian actors, despite what I'm sure was an overwhelming urge
to call up Keanu Reeves to play the role of the Dalai Lama. The
Himalayan landscapes (mimed by Moroccan mountains) are hard to
shoot poorly, and Scorcese makes good use of Tibetan sand painting
as a transitional device. Oddly, in spite of his dedication to
authenticity in every other area, he largely eschews the rich
musical tradition of Tibet in favor of a limp soundtrack by experimentalist-turned-new-age-shlockmeister
Philip Glass. All of Glass' noodling drones turn the atmosphere
to overly reverential mush, and the film often takes on the emotionally
manipulative mode of a television movie of the week. Nonetheless,
it's beautiful to look at and takes enough risks to make the viewer
wish that other films would be this daring, and that this one
had been a little more so.
--DiGiovanna
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