Sunday, February 28, 2016

Mandala (1981)

Mandala is, one could say, a variation on Hesse's Narcissus and Goldmund: a rare film, poetically made, to be able to do justice to such a theme. It is about Buddha, the nature of Buddha: it is about dogma and freedom outside it, about respect and freedom outside of it. The film flows like a river, like the river in Hesse's Siddhartha, a river turning in and out with slow purpose, and Jisan and Pobun meet and lose each other and then again meet each other, just like Siddhartha and Govinda. However, Pobun is more Narcissus than Govinda, with no one person's distinct way superior to the other's. Pobun is tormented, but sure and steadfast and trusting and loving, and seeking to know himself through himself; Jisan is the rogue and can also be steadfast in his own way, but he is also tormented, lusting after life and knowing himself through others, like Goldmund's quest. Both men seem to stand on opposite extremes of religious mores and yet stand hand in hand in the spiritual domain.

Elegantly shot, the film's slow rhythm is beautifully punctuated by Buddhist chants, and some of the shots are a delight to watch for their patience, which lets the viewer be immersed in the film's environment. Pobun in particular is very well played by Ahn Sung-kee, and the remaining cast is doing well, though I feel that the most important character of Jisan could have been played better. Overall, Mandala is yet another deep, sensitive film from South Korea.

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