Jean-Jacques Annaud, Seven Years in Tibet: Old School Reviews

Seven Years in Tibet (1997)

Director: Jean-Jacques Annaud

Stars: Brad Pitt, David Thewlis, B.D. Wong, Mako, Jamyang Jamtsho Wangchuk

Release Company: Sony Pictures

MPAA Rating: PG-13

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At one point in Seven Years in Tibet fourteen-year-old Dalai Llama asks, "Do you think someday people will get Tibet on their movie screens and wonder what happened to us?" Indeed they will, but to find out they should check out Martin Scorsese's cinematically rich Kundun instead of referring to Jean-Jacques Annaud's project. Annaud eschews substance for trite, sappy drama and fashions an ill advised Brad Pitt starring vehicle rather than develop the more interesting aspects surrounding the Tibetan people and their impending conflict with the Chinese, choosing to leave this situation a vague parallel to Hitler's Nazi campaign.

Disappointing, because the film starts with so much promise. The opening credits roll with mysterious swirling clouds while Tibetan monks chant beneath the John Williams score, with notable Tony winning actor B.D. Wong and cello genius Yo Yo Ma listed prominently. The opening scene begins in Tibet, as various people pay tribute to the young Dalai Llama, but this is only a small teaser.

The real story lies with Pitt's character, Heinrich Harrer, an egotistical asshole world class Austrian mountain climber, who runs off to the Himalayas in 1939 to escape his fatherly responsibilities. His very pregnant wife Ingrid (Ingeborga Dapkunaite) is visibly pissed that her husband will be reaching base camp when his son is born, so it's no surprise that their relationship is doomed—Harrer is far more concerned that the press learn of their squabbles than her welfare. After all, he's always dreamed of the Himalayas and conquering Nanga Parbat, a forbidding Nazi obsession that had killed 11 previous climbers in storms and avalanches.

Herrer, guide Peter Aufschnaiter (David Thewlis), and a team of climbers tackle the peak, but Herrer soon reaffirms his loner status and supreme egotism—he isolates himself, brags about being the best climber, and insists on being the lead climber even when seriously injured (risking the Aufschnaiter's life). The mountain climbing scenes are nothing special, and when forced to retreat down after an avalanche and severe storms, the Nazi climbers are arrested at the base camp. It's in India—by law all Nazis become prisoners of war if captured on British soil even when 14,000+ feet up with pitons as their most dangerous weapon. This gives Herrer chances to reprise Papillon and attempt numerous prison escapes. One attempt eventually succeeds, but it requires that loner Herrer team up with Aufschnaiter and head towards Tibet despite its strict laws forbidding foreigners.

But what about the Dalai Llama? One hour and seventeen minutes into the film, Harrer finally meets the Dalai Llama face to face, and the most interesting moments of the film finally commence (for anyone who hasn't fallen asleep during the first hour). Despite being instructed about strict protocols when interacting with the Dalai Llama, the young boy seems fascinated with Pitt's "yellow head" and demands that he teach him about "Paris, molotov cocktails, and Jack the Ripper."

These scenes are the ones that work best in the film. Buddhist teachings are even brought to light effectively when Harrer's movie theater digging progress is threatened by worms. Those could be your ancestors, and no self-respecting Tibetan Buddhist would dare harm a living creature like this—the young Dalai Llama humorously instructs Herrer to use his cleverness to find a solution. The relative informality and building relationship between the boy are nicely done, but screenwriter Becky Johnson continually refers back to Pitt's character, desperately attempting to weave a parallel story with Harrer and his unseen son. A secondary plot involving a potential love triangle that soon leaves Harrer as the odd man out to Aufschnaiter reinforces the same concept. After all, the filmmakers assume that American audiences are far more interested in a soap opera story involving Brad Pitt to see if he can change from asshole to nice guy and whether he can redeem himself after abandoning his fatherly duties.

I was far more interested in learning about Tibet and how the Dalai Llama coped with the difficult years with the Chinese. For such a young boy, he speaks with great spiritual force and wisdom—much more than he shows during his interactions with Herrer. Where did this come from? B.D. Wong's character of Ngawang Jigme is given the short end of development as well. Given his generally good intentions, how he comes to betray Tibet is left too vague; instead he serves as fodder for Pitt's invective wishes:

There was a time that I would have wished you dead but your shame shall be your torture and your torture will be your life! I wish it to be long.

Spit out in high gear, these words match the assholish early character but are now stated for the benefit of others, so audiences hanging on to Pitt's character will feel good about the film. Most will likely forget about Seven Years in Tibet soon after viewing since the filmmakers have focussed on less interesting aspects. Fortunately Scorsese picks the right material, so we can learn about Tibetan culture, politics, and the Dalai Llama by checking out Kundun instead.