Mongol
This is a period film with mythic
overtones based on the life of Genghis Khan. Visually, the film is very
impressive. We see multifarious representations of the Mongolian steppe, where
Genghis was brought up and eventually ruled, including scenes of forest,
snowfields, mountains, valleys, desert, and huge winding rivers. This setting
is central to Genghis’ story and the director returns periodically to these
images to reinforce this connection. In the very opening scenes, we are
informed of the enormous scale of this region when we see the silhouette of a
small caravan of horsemen journey across its vastness, the sun setting in the
distance behind them.
As well as nature’s variety in
the steppe, we are also presented with convincing images of the customs of the
time and place. In this way we learn about the dress and physical adornment
exhibited by the various people’s of the region, in times of war and peace. It
is clear that the filmmakers know not a little about Genghis and his world and that they are generous with this knowledge. We thus learn
about fighting techniques and the now extinct Tangut nation, as well as many of
the customs of the inhabitants of the Steppe and their neighbours, including the
ritual involved in choosing a bride,
As well as being part of
establishing a convincing tone for the audience, Mongolian customs per se are central to Genghis Khan’s
story. There are two aspects to this idea. Firstly, it is his occasional
difficulty with adhering to these customs, some of whom have come about to
facilitate a peaceful coexistence between the tribes of the Steppe, that leads
him into dangerous situations. Secondly, we are presented with the thesis that
Genghis’ vision is to reestablish order in the Mongol world precisely by
reestablishing respect for custom (or “law”, as it is described in the film).
Not surprisingly, there are many
large battle scenes depicted here. The filmmakers’ emphasis is on the battle as
a spectacle, and there are many images of blades scything warriors and
unleashing plumes of haemoglobin. It becomes clear the Genghis is a fierce
battler, making up for what he lacks in brute force with tremendous skill and
tenacity. The music during these scenes is bombastic. Elsewhere in the film we
are treated to a variety of mainly incidental music that is effective in
establishing the mood and sense of place, and modern thrash
metal erupts when the closing credits start to roll.
A committed audience who sticks
with this film will be largely repaid for their efforts. The story of Genghis
Khan, who lived and ruled during the 1100s, will be forever amalgamated with
myth. The filmmakers cleverly use this prevailing sense of quasi-history to
grant themselves occasional licence to overcome possible sticky plot moments
and thus maintain a decent pace, and the audience’s interest, for the film’s
not inconsiderable duration.