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Mongol

Mongol

2007, Germany/Kazakhstan/Russia/Mongolia
Adventure, Biography, Drama, History, Romance, War

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READ THE REVIEW AT The Desert Sun.
Extended version:

Genghis Khan has gotten a bad rap. After all, he was a uniter, not a divider. According to director Sergei Bodrov's film, Mongol, Genghis clawed his way to the top as Temudjin, a Mongolian who believed his country was due for a change in the 12th century.

The epic film follows Temudjin from 1172 as the young son of a khan until 1206 when he officially became khan to all Mongols. The road that he traveled to rule was long and treacherous, and Bodrov captures every harsh highlight. Award-winning Japanese actor, Tadanobu Asano, does an excellent job of portraying Temudjin as a clever adversary, undeterred by obstacles and determined to reshape the continent.

Temudjin's friends become his enemies (including a charismatic Honglei Sun as his blood brother rival) but his wife remains his greatest ally, undeniably devoted and strong. At nine years old his father asks him to choose a future bride from a warring tribe in order to make peace, but Temudjin finds himself swayed by young Börte from a friendly group, and the two are bonded for life. Her loyalty throws him into battle but also frees him from imprisonment, yet their time apart far exceeds their moments together.

The years of desolation and struggle are beautifully presented by cinematographers Rogier Stoffers (Oscar-winning Character) and Sergei Trofimov (Night Watch), who curiously provide little from their resumes to support such an artistic transition. Each frame is carefully arranged with characters in lovely traditional garb set small against sweeping plains or frozen fields. The isolated hinterlands of Mongolia and China have long been appreciated for their easily captured cinematic beauty, as stunning vistas lie in every direction. Mongol's filmmakers heighten the impact with rich colors that pop from great contrast against the muted landscapes, particularly the vivid reds of blood on a battlefield.

Every violent encounter receives intense attention, from slow-motion combat to the gruesome splats of blood that flow mercilessly. Haunting guttural throat music serenades each fierce gaze and brutal blow. The blood shed for a better future is an easy price to pay in the eyes of one of the world's greatest rulers.

Temudjin's efforts are guided by a new set of rules that he believes will be more fruitful for his people's future. Throughout the film, characters constantly state Mongol tenets -- don't refuse the gift of an enemy, don't go to war over a woman, the khan reaps the plunder, etc. -- but never question their purpose. Temudjin prefers to reward his warriors and ensure fair treatment to those who deserve it, and in the process rewrites the laws.

His methods are not unique, but Bodrov delivers a thorough and beautifully framed film. Though he has denied plans to create a trilogy, it would be rewarding to see such a complex historical character receive further analysis in a sequel delving into Genghis Khan's world conquests.

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