Tenam
It begins in the chaos of battle: gunfire echoes, people flee, dazed, under the bombings. And in the midst of it all, two armed men move through a maze of winding alleys – surprisingly calm and heavy, like the snow-covered mountains surrounding them.
For any film lover, the appearance, atmosphere, and form of a movie are just as important as its “themes.” Shenpenn Khymsar understands this and executes it brilliantly. The viewer is plunged into the heart of the action – slightly lost, slightly frightened, but captivated, on the edge of their seat from the very first scene.It is through these two men that we discover the story of the Tibetan armed resistance during the invasion of Tibet by China. A group of men, caught against their will in the communist Chinese invasion, becomes a part of the resistance and the creation of Chushi Gangdruk – “4 Rivers 6 Ranges,” under the leadership of Andruk Gompo Tashi, respectfully called “Jindhak” by the resistance fighters.
Tenzin Dhondup perfectly embodies this leadership role, with an intensity that does justice to history of this great resistance leader.The film immediately captivates – a reminder of the power and emotion that cinema can evoke when telling the stories of the brave men and women of the Tibetan resistance, when all the elements align. By refusing to romanticize Tibetan idealism while telling a story of sacrifice -through family, loss – Shenpenn’s epic film retraces the Tibetan resistance of nearly 70 years ago and makes it as haunting and relevant as today’s news.
Visually, the film is a true painting. Shenpenn harnesses the harshness and majesty of the Himalayan landscapes to root his story in palpable truth of the narrative. The cinematography, full of contrasts, juxtaposes the coldness of the mountains with the human warmth of these men willing to sacrifice everything. The music, a blend of traditional Tibetan sounds and the Prague Orchestra – subtle yet present – echoes the director’s musical background.
The humanity with which Kunga Samten portrays his role as one of Gompo Tashi’s closest aides is remarkable. The writer’s sensitivity prevents the film from falling into mere heroism or cliché. Thupten Chukhatsang, in the role of Kunga Samten, delivers a nuanced performance that hints at a future talent in Tibetan cinema.
This film reminded me of something Gandhi, the apostle of non-violence, once wrote:“My non-violence does not allow me to run from danger and leave my loved ones unprotected. Between violence and cowardly flight, I can only prefer violence to cowardice. I can no more preach non-violence to a coward than I can ask a blind man to admire beautiful landscapes. Non-violence is the pinnacle of courage.”When the Dalai Lama, at the border between India and Tibet, turns back one last time toward his homeland, the cinema seems to hold its breath. The camera lingers on the face of the young Dalai Lama taking his first step into exile in India, where he still resides today. This scene seem to capture the moment of collective exile of Tibetans watching this movie. I don’t think there were many dry eyes among the Tibetans at that screening.
The film premiered at the 54th International Film Festival of Rotterdam in early February, where it created an international controversy as the Chinese official media blasted the movie for “promoting separatism” and “rewriting of history”. A special screening at INALCO last weekend to young Tibetans living in the French capital on 8th February.“
The idea was to connect with the younger generation and inspire them. It is time for us, Tibetans, to tell our own stories and reclaim them. It took 13 years to make this film – 10 years of research and 3 years of filming and post-production. This project is a true labor of love, bringing together Tibetan actors and numerous talents from around the world for the first time,” confides the filmmaker.
“4 Rivers 6 Ranges” highlights the courage of those who took up arms to resist the Chinese invasion so many years ago. And the courage of today’s Tibetan leadership and people in choosing the path of non-violence. Non-violence is as much a weapon of the strong as Chushi Gangdruk’s armed resistance. That, in the end, is what I take away from this inspiring film.
The film does not just tell the story of Tibet’s past but also poses an essential question: how do we pass on the memory and heritage of a people in exile and a colonised country to new generations? This film does not just recount history; it calls on us to reflect on the Tibetan struggle today, between memory and resistance.
(Views expressed are his own)
The author is a former editor of Tibetan Bulletin and a board member of SFT France and International Tibet Network. He lives in Paris, France.
