User Reviews

''Himalaya - l'enfance d'un chef'' is the second movie I watched with Lhakpa Tsamchoe, an excellent actress who I saw for the first time in ''Seven Years in Tibet''. I discovered here in IMDb that she only worked in these two movies in her life, and that she is not actually an actress, as everyone else who acts in this movie are not actors. This is very surprising, because all their emotions and the scenes really looks made by professionals! 'Himalaya'' is a french production, in which the big interest is to show some of the Tibetan traditions that are disappearing in their culture. This movie also received an Academy Award nomination for the Best Foreign Film, and it really deserved it.

Showing the stubborn and proud Tinle,who refuses to let Karma, his son's friend, to become the new chief,suspecting that he killed his son. Tinle is old, but anyway he organizes another caravan to take the salt to trade for grains and food. But their trip will not be fast and many difficulties will be in their way...

~Some spoilers~

It stands as a sweet, poignant story of a simple life of hardship, strife, and the necessity of growing up and enduring. Against a backdrop of superstition vs. pragmatism, a village elder's [Tinle's] hatred and need for revenge stem from the death of his first son -- a death he blames on the son [Karma] of another family whose ancestors had bad blood with him and his own. In his stubbornness, he consults the star charts for guidance on when depart on a caravan through the mountains to trade their livelihood (salt), rather than following the urging of Karma, who departs with most of the young men of the village 4 days before him in an effort to avoid late season storms. Tinle asks his second son -- a lama who knows only how to paint and pray -- to help the rest of them voyage over the mountain pass to trade for their livelihood. Initially refusing, the priest later reconsiders, remembering something he was once taught: "when presented with two paths, always choose the harder one". This speaks to me of the value of life as a journey rather than a destination: the value of striving and failure (even it does seem ludicrously impractical as *general* advice).

Though some of the members of the second caravan are too old or too young to make the journey, stubbornness and need drive Tinle onward, even through a treacherous shortcut through a winding trail high above a mountain lake, as well as stormy snowdrifts in a high mountain pass. Tinle's grandson [Passang?], orphaned now and destined to be the chief in the future, learns much from his mother and Tinle before and during the journey. He takes comfort in the knowledge of the afterlife, that lives are ended and reborn in an eternal cycle.

This story, while to me not a tragedy, has a similar fiery cleansing effect because it presents life with such purity and urgency -- that of an ancient legacy. There is need and striving, pain and endurance, and compassion. Most of all, there is reconciliation and epiphany: Tinle breaks his circle of hatred and manages to forgive before he dies, finally coming to terms with his grief and putting the good of the tribe ahead of need to blame someone for his son's death. He is healed. Karma, having never really returned Tinle's spite, learns that there may be more to the superstitious old ways than meets the eye: sometimes there are hidden merits to tradition, even though they seem pointless on the surface.

The most memorable moments are at the end of the film. When Tinle collapses, his life spent, Karma says, "I've sometimes dreamt that you were my father." It's touching that his shield of love never let him be deeply wounded by Tinle's long-standing grudge and unrelenting hatred. And Tinle reconciles, showing that his eyes are open, at last, with true insight: "You're too much like me to be my son. A real chief always starts by disobeying." This speaks to me of the need for a strong will, but more: the need to learn through failure.

Karma says, "We're almost there. We can't part now that we've just met". Indeed, they truly have just met, in a heartfelt, significant way. Finally, Tinle says, "We've always been together. We wanted the same thing": such simple words, but so appropriate and regal.

When Tinle dies, his very young grandson Passang seems to accept it, saying, "Let him go. He's going to find my father in Padmasambhava's paradise." Is this not a powerful testimony to our urgent need to believe in an afterlife? -- if not just to comfort ourselves, but also our children when they confront the reality of death for the first time -- knowing that lives don't just end pointlessly, the valued soul lost forever to oblivion. But rather that the spirit lives on and is treasured by the world, or by someone who cares.

The film's epilogue is symbolic of the main story: The embracing wings of the birds and the sheltering boughs of the trees, which are finally seen for the first time at the end of the journey, symbolize paradise and redemption. And we, the pinnacle of evolution, are left to try to make sense of it all -- to serve the rest of the living world -- perhaps to only rationalize our existence, such as through prayer and painting -- and to mimic and harvest from the land of our birth.

It's a soul-wrenching, beautiful agony to experience this film, with its touching and appropriate music, and its painted fresco at the end that celebrates the tapestry of lives spent in strife, loyalty, and perseverance. It's the story of the most formative journey in a leader's childhood, immortalized and revered.

This is a superb example of the film genre which originally did most to establish cinematography as an important new art medium - it is a visually very striking tribute to a traditional lifestyle that is most unlikely to be able to continue for very much longer, and that would be lost forever if not recorded on film. Even back when feature films were still regarded as only poor shadows of stage presentations such films had already established themselves as a unique and irreplaceable adjunct to written or hand drawn records.

For many years documentaries were probably the type of film most extensively made and, although the development of lightweight equipment that could be used in all weathers only took place very slowly, many anthropologically important works such as "Nanook of the North" or "Legong - Dance of the Virgins" began to appear soon after WW-I. Some were true documentaries where the photographer tried not to interfere with the normal activity pattern of his subjects, whilst in others the cast are deliberately acting out such activities for the exclusive benefit of the camera. Nanook of the North is an example of the former group whilst Dance of the Virgins has a story line built around the traditional ritual dances that are the principal cultural activity of the Balinese villagers who acted in the film. Himalaya is also an example of this latter type of documentary. It features the people of the Dolpo region, a high altitude plateau situated on the border between Nepal and Tibet in the Himalayas and so remote that its population appears to have only been estimated (somewhere between 5,000 and 18,000 according to Wikipedia). At an altitude of around 4,000 m this is one of the highest agricultural areas in the world with poor mountain soil, extremes of weather and a very short growing season, so not surprisingly the communities living there need to supplement their own food production through trading. For many centuries the traditional method has been to take salt (plentiful in Tibet) to Nepal by an annual Yak caravan trek across the mountains following the primitive trails developed to permit such trade, and to exchange this salt for grain. When Eric Valli made his documentary in 1999 this traditional practice was still being followed in a way unchanged for many centuries, but he appreciated that it was a fragile lifestyle and wanted to capture it for the world in case it came under threat. Since then a two prong threat has developed - the absorption of Tibet by the Peoples Republic of China has led to attempts to close the Nepalese Tibetian border which makes it harder for the Dolpo people to acquire the salt needed to continue this form of trade, and alternative sources of salt from other parts of the world have reduced the dependence of the Nepalese on the Dolpo caravans. It is hard to be optimistic that major changes will not become inevitable - a poignant concern whilst watching this beautiful film..

Valli's team must have spent a long time getting to know the community and achieving a concensus on the story which would be presented. The final product is so realistic and documentary in effect that one almost feels it must be auto-biographical, but I believe this is unlikely as it would then have threatened to re-open the conflicts shown with potentially disastrous effects. It is much more likely to be a re-creation of legends and oral history from sometime in the past. It features an aged tribal leader Tinli, whose family has held this position for many generations, ready to hand over to his son just when the young man is killed in an accident. We learn that the role of tribal leader is not quite the hereditary right of this family, being subject to community approval which is based on proved ability to provide strong leadership - most effectively demonstrated by successfully leading their vital annual yak caravans. The old man's grandson is only a child - his other son is a monk in a Buddhist monastery with no experience to match the communities needs. He decides to once more lead the caravan himself and determines the departure date ordained by the gods. The community is split, many supporting another leader who spurns supernatural guidance and plans to leave earlier. Ultimately two caravans leave four days apart. They rejoin near their destination, the old leader dies of his exertions and the split in the community is healed. - this simple but very effective story provides a framework upon which Valli has created a memorable film that can be recommended unreservedly. The Himalayan scenery is unsurpassed and creates a must-see for all mountain lovers, but the most memorable sequences are those where we see (and experience) the vitality of the community when discussing the wisest course of action to follow..The ultimate triumphant success this almost unique movie achieves is the way in which its viewers come to feel they really know Tinle, the aged leader, and his contemporaries - this is an experience which is truly not to be lightly passed over. .

For me the climactic sequences were those showing Tinle's followers waist deep in snow, battling their way through a storm which had created white-out conditions.. One could not but reflect that even the short time interval between the grain harvest and the onset of winter is always subject to storms which would render mountain travel hazardous or even impossible, Over several centuries many of the caravans must have just disappeared in such storms without trace. Every time this happened it would have been a very traumatic loss to the community concerned. What determination and trust in their gods must have contributed to their survival on such occasions. There are lessons for us all in this!