Filmed in the Dalai Lamas residence in Dharamsala, North India, and in the re-built Sera Monastery, the second largest monastery of the old Tibet, this opening part of the Trilogy observes the Dalai Lama in his dual role as Head of State and spiritual teacher. In an elegant cinematic style, at one with its subject, the film interweaves this personal portrait with an intimately observed exploration of the ways in which the inner knowledge of Tibetan Buddhist culture is developed in the monasteries, through vigorous debate and solitary meditation, and communicated in to the lay community. With extraordinary authenticity Part II of the Trilogy journeys deep into the mystical inner world of monastic life. Set in the ancient village of Boudha, Nepal and the isolated mountain caves of the yogis, the film follows the lamas of the Phulwary Sakya Monastery through their contemplative retreats, the building of an intricate cosmogram, and the performance of an ancient protective ritual known as A Beautiful Ornament. Through the ritual invocation of the female deity Tara, the malevolent forces that might bring harm to the society are invited and magically transformed. With a subtitled commentary based on the teachings of the great 20th century master Dudjom Rinpoche, the essence of tantric Buddhism is powerfully revealed.
The Internationally Acclaimed Classic-- Now available on DVD for the first time, this documentary was hailed as a masterpiece following its first release in 1979. Digitally re-mastered, with new material and a new commentary, Tibet: A Buddhist Trilogy takes you on an intimate journey deep into the heart of an ancient Buddhist world. Four years in the making and hailed as a cinematic masterpiece in 1979, writer/director Graham Coleman's three-part feature has been unseen for over 20 years. Now, the film has been reworked into a single presentation, complete with digital restoration of the original material and new commentary. Part 1 is an intimate portrait of the Dalai Lama as a spiritual and temporal leader. Part 2 journeys deep into the mystical inner world of monastic life and presents an authentic revelation of tantric Buddhism, with commentaries by the great 20th century master Dudjom Rinpoche. Part 3, photographed in the awesome landscapes of Ladakh, is a meditation on impermanence and the depiction of the monastery's moving ritual response to a death in the community. DVD Extras: An interview with Graham Coleman (Writer & Director) and David Lascelles (Producer) Plus a complete stereo recording of A Beautiful Ornament the protective ritual which forms the heart of Part II of the Trilogy.
Firstly a note to state that this release of Tibet: A Buddhist Trilogy does not see the film in its original form. Filmed between 1974 and 1978 before being shown theatrically in 1979, Graham Colemans documentary on Buddhist culture in its original cut was far longer. Initially consisting of three parts which ran for 54 minutes, 125 minutes and 52 minutes respectively, this redux version adds new footage, alters the commentary and greatly curtails the length. We still get a film in three parts (it is a trilogy, after all), but they now come in at taking into account PAL speed-up of course 26 minutes, 70 minutes and 37 minutes. Essentially, however, the crux of A Buddhist Trilogy remains the same: British director Coleman, having captured his subject with remarkable and rarely seen intimacy, uses the assembled footage as a means of exploring this ancient culture existing within the modern world.
The three parts allow this exploration to take part from three differing angles. The first, entitled The Dalai Lama, the Monasteries and the People, provides an introduction to the culture: we witness the monks engaged in heated philosophical debate; the people in the surrounding community; and the Dalai Lama issuing his blessings. The second, Radiating the Fruit of Truth, is the centrepiece and concerns itself with documenting the sacred ritual known as "A Beautiful Ornament". And the third, The Fields of the Senses, captures both the community at work and the ritual that occurs when one of their number dies.
Stylistically all three parts draw on a similar approach. Coleman favours an unobtrusive, observational method. He doesnt probe into his subjects but rather sits back, watches and listens. As such even camera movement is rare (though always justified) and the result is footage which can speak for itself. And certainly the material hes captured is often fascinating. Its visually resplendent (courtesy of all those reds and yellows) plus theres the rareness of it all to consider; moments big and small are given an equal footing, whilst the likes of Part IIs ritual only serve to demonstrate just how far The Buddhist Trilogy goes into recording the monks most private of activities.
Of course we cant be relied upon to comprehend these fully and so Coleman includes both brief explanatory intertitles and a commentary. The former are direct and stick to the essentials (locations and the like), yet the commentary itself brings with it certain problems. Spoken in Part I and then rendered as subtitles in Parts II and III (note that these subtitles are burnt into the image and thus non-optional), it demonstrates a reverence that undoes some of the films qualities. Rather than allow his efforts to act as an introduction for a more general audience, Coleman approaches this culture from within as though hes making a film solely for himself or perhaps the monks he is capturing. He uses their own terminology and explanations of events thereby leaving the newcomer out in the cold. Indeed, theres no concession to the outsider, something which the use of laymans terms, for example, may very well have allowed for. This isnt a suggestion that A Buddhist Trilogy should be dumbed down in any way (and Colemans respect, incidentally, cannot be faulted), but when were faced with the following it can become a little too impenetrable to all but the most hardened of converts: "The yogin gradually attains union with blissful, dynamic emptiness and clarity, that is the minds ultimate nature."
Otherwise were faced with a film which makes all of the right moves. As said its visually superb, soberly but intelligently filmed and its decision to cover as much ground as possible (even in this new shortened version) means that it builds to a wonderfully rich canvas. Moreover, Colemans enthusiasm proves infectious. Yet this single misjudgement, which perhaps a lower key interest in the subject wouldnt have allowed for, prevents from making quite the work that hes capable of.
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