David O'ConnellMongol
July 24th 2009 04:36
With his eye on the bigger picture – creating not one, but a trilogy of films that cover the life of Genghis Khan – director Sergei Bodrov’s ambitious but optimistic first installment lacks the well-rounded arc of an economically and coherently told story. The scope for greatness is there in the pages of history, ripe for mining, and visually Bodrov's delivered in spades, producing a feast for the senses that screams Epic from every frame.
After a strong opening however, his vision begins to lose momentum and a meandering final act seems geared at contrasting, in simplified terms, the painful conflict between family duty and the honor of leading the Mongol race out of the darkness of separatism. Bodrov’s screenplay, co-written with Arif Aliyev, borders close to superficiality at times. He becomes far too reliant on the withering force of his enigmatic hero as he confronts, on the battlefield, a man whose brotherhood was forged in blood when they were boys.
Temudjin (Tadanobu Asano), the future Genghis Khan, is promised a future wife from an early age by his father Esugei (Ba Sen) but on the way to repenting for an earlier insult to a rival clan he’s distracted by the daughter of a friend. Borte (later played by Khulan Chuluun) suggests herself as an ideal wife and despite his father’s misgivings, Temudjin makes his choice.
When the rival clan, in vengeance, steals his wife some years later, Temudjin begs his ‘brother’ Jamukha (Sun Hong-Lei), the ruling Khan, to assist him in returning his wife to her rightful place beside him. Jamukha begs patience but agrees. In the heat of the subsequent battle Temudjin distinguishes himself and his later generosity in sharing the victor’s spoils earns the respect of Jamukha’s men. Two defections irk the amiable traditionalist Jamukha, and a wedge forms between the blood brothers, leading to an inevitable showdown which will shape the future Mongol empire forever.
The battles are depicted as fierce and brutal affairs, though the bloodletting is stylised to some extent with Bodran keen to show off the capabilities of CGI to express every droplet of blood individually. These confrontations are exciting too, it must be said, even if the division of sides isn’t always clear-cut, so often the case with frenetic combat at close quarters.
Asano is a hard actor to assess. He’s somewhat of a blank canvas with his stoic and inscrutable exterior. He’s less than successful in conveying the rising importance of this historical figure, though it's a failing perhaps more attributable to Bodrov’s screenplay. Relying heavily on deeds rather than words is a risky path to choose, and needs a charismatic performer to tip uncertain audience members over the line.
Sun Hong Lei, an acclaimed Chinese actor, was the brightest aspect of the film for me. He has charisma in spades, and makes up for Asano’s deficiencies to some extent. It was almost sad to contemplate his inevitable defeat at the hands of Temudjin; I wouldn't have minded seeing more of his backstory.
The peerless cinematography of Rogier Stoffers and Sergey Trofimov is impossible to ignore, with a stunning painterly quality to many shots. A number of the vast landscapes, captured with remarkable depth and attention to detail, are the sort of thing you’d love to hang on a wall.
Mongol (2007) travels along a predictable pathway as Bodrov establishes the revered subject of his intended trilogy. The trouble is that there are too few momentous diversions from the rise-against-odds trajectory that defines these historical epics. The film’s aesthetic richness and the presence of Hong-Lei are huge plusses, no doubt, but as enjoyable as it is, Mongol falls just short of the grandeur and scale of its own estimation.
After a strong opening however, his vision begins to lose momentum and a meandering final act seems geared at contrasting, in simplified terms, the painful conflict between family duty and the honor of leading the Mongol race out of the darkness of separatism. Bodrov’s screenplay, co-written with Arif Aliyev, borders close to superficiality at times. He becomes far too reliant on the withering force of his enigmatic hero as he confronts, on the battlefield, a man whose brotherhood was forged in blood when they were boys.
Temudjin (Tadanobu Asano), the future Genghis Khan, is promised a future wife from an early age by his father Esugei (Ba Sen) but on the way to repenting for an earlier insult to a rival clan he’s distracted by the daughter of a friend. Borte (later played by Khulan Chuluun) suggests herself as an ideal wife and despite his father’s misgivings, Temudjin makes his choice.
When the rival clan, in vengeance, steals his wife some years later, Temudjin begs his ‘brother’ Jamukha (Sun Hong-Lei), the ruling Khan, to assist him in returning his wife to her rightful place beside him. Jamukha begs patience but agrees. In the heat of the subsequent battle Temudjin distinguishes himself and his later generosity in sharing the victor’s spoils earns the respect of Jamukha’s men. Two defections irk the amiable traditionalist Jamukha, and a wedge forms between the blood brothers, leading to an inevitable showdown which will shape the future Mongol empire forever.
The battles are depicted as fierce and brutal affairs, though the bloodletting is stylised to some extent with Bodran keen to show off the capabilities of CGI to express every droplet of blood individually. These confrontations are exciting too, it must be said, even if the division of sides isn’t always clear-cut, so often the case with frenetic combat at close quarters.
Temudjin (Tadanobu Asano) the family man
Asano is a hard actor to assess. He’s somewhat of a blank canvas with his stoic and inscrutable exterior. He’s less than successful in conveying the rising importance of this historical figure, though it's a failing perhaps more attributable to Bodrov’s screenplay. Relying heavily on deeds rather than words is a risky path to choose, and needs a charismatic performer to tip uncertain audience members over the line.
Sun Hong Lei, an acclaimed Chinese actor, was the brightest aspect of the film for me. He has charisma in spades, and makes up for Asano’s deficiencies to some extent. It was almost sad to contemplate his inevitable defeat at the hands of Temudjin; I wouldn't have minded seeing more of his backstory.
Sun Hong-Lei is great as Jamukha
The peerless cinematography of Rogier Stoffers and Sergey Trofimov is impossible to ignore, with a stunning painterly quality to many shots. A number of the vast landscapes, captured with remarkable depth and attention to detail, are the sort of thing you’d love to hang on a wall.
Mongol (2007) travels along a predictable pathway as Bodrov establishes the revered subject of his intended trilogy. The trouble is that there are too few momentous diversions from the rise-against-odds trajectory that defines these historical epics. The film’s aesthetic richness and the presence of Hong-Lei are huge plusses, no doubt, but as enjoyable as it is, Mongol falls just short of the grandeur and scale of its own estimation.
| 78 |
| Vote |
subscribe to this blog
Comment by quatro
Secret Writers Business
Time to Read !
I agree with what you say in your technical assesment of the movie "MONGOL".
However I want to add that visually it is, in my humble opinion the most beautifully photgraphed movie that I have seen apart from Lawrence.
This movie captured me and would not let me go till it finished spinning its magic on me.
I could not put it down if it was a book. It had story, adventure, empathy, love, LOVE, war, mateship, family and some of the most spectacular scenery I have ever seen on film.
I am looking at this movie with my heart not my mind, and it has ignited a zeal for a man's life centuries ago that has lessons for me in my life.
I thank you for your honest assesment.
I CAN NOT WAIT TILL YOU PUBLISH YOUR CRITICAL REVIEW
ON LAWRENCE OF ARABIA..
now that will be hotly debated, I assure you!
keep up your reviews, makes me want to go to the movies
thanks
Alex
Comment by David O'Connell
Screen Fanatic
Anyway, looking forward to Lawrence of Arabia, I imagine it'll be a rude awakening for me in the Epic Stakes. It's long overdue!
Comment by Matt Shea
20/20 Filmsight
As for Mongol: I saw this at the cinema and enjoyed it but I too had a few issues with its structure. As I remember it, it was yet another film that sacrificed its own narrative for the sake of its sequels - something that makes me want to rip cinema seats from their moorings.
Comment by David O'Connell
Screen Fanatic
You summed up Mongol perfectly mate - it does indeed sacrifice a more well rounded film with a better structure for the sake of two future films which may not even eventuate, who's to know?
Comment by JohnDoe
Film & TV on DVD
I think I enjoyed this one a bit more than you. Though i agree with the faults cited overall i found myself emotionally effected by the film and in awe of its visual scope. can't wait for the next chapter.