Steppe
lively
When
we think of epics, David Lean comes to mind, along with perhaps
the great Russian director Sergei Eisenstein. Now we have another
Russian, Sergei Bodrov adding his name to the list directing this
film of epic proportions dealing with the early life of Genghis
Khan.
It's no mean feat either. Mongol was filmed
in actual locations where the young Khan grew up, and includes
large scale battle scenes, along with cowboy-and-Indian style
chases that hark back to John Ford. The opening sequence gets
up and knocks you over, even before the main title. Powerful images
sharply edited and chanting music set a hard standard to maintain.
The film isn’t all raging battles, in fact much of it concerns
the shifting relationships between the protagonists.
It’s 1172 and nine year old Temudgin (Odnyam
Odsuren) later to be Genghis Khan rides with his father to pick
a bride from a rival tribe, the Merkits, hoping this gesture will
establish peace. However stopping on the way, at the camp of a
friendly clan, Temudgin meets a young girl Borte whom he chooses
to be his future wife though unfortunately offering insult to
the Merkits. Strict Mongol traditions that become law dictate
the actions of these tribal people. Then the wheels fall off.
On the return journey his father is poisoned by another rival
clan, and his father’s men lead by Targutai (Amadu Mamadakov)
turn upon Temudgin and his family stealing their possessions.
He is forced to flee his home and is on the run for most of his
young life.
Yet his brutal treatment at the hands of enemies
serves to strengthen him. Managing to elude Targutai until 1186,
as a young man Temudgin (now played by Tadanobu Asano) faces a
horrible death again when caught by his sworn enemy but, defiant
and unafraid, manages to escape once more. Eventually he's able
to claim his bride Borte (Khulan Chuluun), and is subsequently
saved by her on a number of occasions. Life isn’t meant
to be easy though, and the miffed Merkits kidnap Borte, while
his father’s betrayer Targutai becomes Khan of the clan.
Poor
Temudgin is enslaved by his blood brother Jamukha (Honglei Sun)
who’s enraged when some of his followers decamp to Temudgin
for better treatment. Then Jamukha’s real brother is killed
in an attempt to get his warriors back. Temudgin is finally imprisoned,
to be caged in a far-off city and mocked by the locals. No matter
- with Borte’s help he manages yet another escape. Briefly,
his path to greatness includes a mighty battle which unites the
mongol clans under his leadership as Genghis Khan of the Great
Steppe; a leader who will conquer more territory than any warrior
before or since.
With a cast of multinational actors, the central
performances resonate. Japanese star Tadanobu Asano is suitably
determined, commanding, and passionate as the young Khan; China’s
Honglei Sun’s Jamukhu adds a touch of dark humour; while
newcomer Mongolian Khulan Chuluun plays an oddly restrained love
interest. Bodrov directs with confidence, giving needed clarity
in the complex plot, and recreating the earthy feeling of 12th
century effectively throughout. Cinematography is always of a
high order, making the most of the sometimes grim vistas of a
vast landscape. The battle scenes employ enough extras and CGI
to make them impressive, although the quick cutting of the close-ups
rather fudges the actual combat. Maybe taking a lead from Rambo,
the director splatters these scenes with studio blood. He literally
drenches us in it. The uncannily authentic sounding chants and
music drive the action; with effective use of surround sound especially
in the storm scenes in a hostile landscape.
Some of the finer points of the plot are left unexplained.
We don’t see the hero lose the wooden yoke, or escape the
watery grave under ice - divine intervention perhaps? At one stage
he’s infected with a very nasty skin disease which fortunately
passes before he turns into the living dead. That said, although
long in the telling (one wag suggested you need a calendar), the
film mostly grips you with its primitive power. Although I didn’t
find it as involving as it might have been, as the epic quality
distances you emotionally from the characters.
There are oblique references to Eisenstien’s
Ivan The Terrible. Not only does the central figure have
the same charismatic regal strength as Ivan especially in a haunting
close-up near the end of the movie, but also plot similarities
in uniting warring factions under a fearful leader. Not surprisingly,
as with Ivan, there will be Part Two of Mongol coming
in the future.
John Bale
