Kundun (1997)

Cole argues that Kundun is an underappreciated, standout entry in Scorsese’s work. He praises its impressionistic editing, which conveys the Dalai Lama’s inner turmoil beneath his outward calm.

Freer finds the film difficult and demanding but ultimately thrilling, while noting it falls short of Scorsese’s highest standards. He praises Philip Glass’s score and the haunting beauty of the richly textured images.

The page identifies this as a film review, but its text is unavailable. The critic’s verdict and specific praise or complaints cannot be verified.

The page presents the film as an unusually simple and strange Scorsese work. It characterizes the film as an act of self-imposed exile, but the available text gives no further verdict or specific praise.

The review finds Kundun ambitious and reasonably absorbing, but weighed down by storytelling problems. It praises the visual splendour and performances, while faulting the simplistic script and episodic narrative.

Levy finds the film hypnotic and visually stunning but ultimately not compelling or illuminating. He praises Roger Deakins’ imagery and Philip Glass’ score, while faulting the routine screenplay and commonplace dialogue.

The critic finds Kundun visually impressive but ultimately too reverential, with its critical edge giving way to hagiography. He singles out the exquisite production design and Roger Deakins’s photography for praise.

Phipps finds the film ultimately unsuccessful, despite its heartfelt intentions, because its detached, aimless approach leaves the Dalai Lama underdeveloped. He praises the visually stunning moments and the mystery of the opening scene, but says the film cannot sustain that beauty.

Phipps argues that Kundun is a major, essential work in Scorsese’s filmography. He especially praises its dreamlike imagery and the way it conveys the Dalai Lama’s limited understanding of political events.

The critic finds the film visually impressive but ultimately hampered by limited scope and a lack of objectivity. The review praises the look of the film and the amateur cast’s acting, while faulting the dream sequences and the portrayal of Tibetans speaking pidgin American.