We would expect to see "Free Tibet" on graffiti covered wall near an exiled Tibetan monastery in the Himalayas, but what are "France" and "Brazil" doing on the wall? And what is the deal with the prayer flags for these two countries? We would expect Buddhist monks in training to be very somber and meditative at all times and would expect them to be detached from all worldly cares, even if France and Brazil are playing in the finals of the World Cup.
Not so in this film. For the first time I sensed that I was seeing a true picture of a Buddhist monastery that is much more human than stereotypes would have us believe. I sense this because The Cup is based on a true story, it uses untrained actors, and it is filmed by a Buddhist monk from Bhutan -- Khyentse Norbu. Never receiving formal training in film making, Norbu served as an apprentice under Bernardo Bertolucci in making Little Buddha and has received his cinematic training by watching many films. While this is Norbu's first feature length film, it will not be his last.
After working many years with "stoic" Navajo people, I always suspected that Buddhist monks were likewise very human. The Cup confirms this. In the beginning we see a group of red and saffron robed trainees kicking around a coke can soccer style. The schoolmaster breaks up the game, retrieves the can, which soon becomes part of a coke can shrine/incense holder for the Buddha. We will see more than one connection between the sacred and the secular world in this film.
Norbu shows us the human side of monastery life, as I am sure he personally experienced it. One of the young students continually falls asleep during chants, and many of the young teens show a great deal of interest in soccer magazines and pictures of young women in swim suits. They are quick to hide these and chant loudly whenever Geko, the schoolmaster, walks by. We mostly follow Orgyen ( Jamyang Lodro), a charismatic young trainee who is fanatically devoted to soccer. With the World Cup in progress he sneaks out of the monastery late nights to watch matches on a black and white television. He also literally has a soccer shrine above his bed with his favorite players' pictures posted.
Norbu quite naturally weaves a few political statements into his film. While Orgyen likes France because they are the only country to loyally support Tibet, he quite perceptibly analyzes the United States' position on the issue, stating that "America is scared sh*tless of China." Illuminating the political situation, two young Tibetan boys, Palden and Nylma, escape Tibet and arrive at the Tibetan monastery-in-exile. Here they receive their shaved haircuts and their orientation into monastic life.
Norbu wisely steps quickly away from making his movie a pure political statement, as our young protagonist does not reciprocate his loyalty to France. Instead, Orgyen loves Brazil and his favorite player, Renaldo, who plays for this traditional Latin American soccer power.
Like many foreign films the plot is extremely simple. It revolves around Orgyen's efforts to get the Abbott to agree to let the monastery see the World Cup final on a rented black and white television and satellite dish. After permission is granted, the challenge becomes gathering sufficient funds to pay for the rental services.
This may not be exciting fare for anyone looking for great conflicts or looking for an action filled plot. What would you expect from inside a Buddhist monastery, anyway?
This is a character driven vehicle. We get to especially know soccer fanatic Orgyen, and learn that he has a great deal of compassion at the end. When Orgyen slips out of the World Cup because he is concerned about hurting young Nylma's feelings, we see another side of Geko (Orgyen Tobgyal), the school master. When Orgyen tells him why he is concerned and why he has left the televised game, Geko assures and praises Orgyen in a backhanded way, saying that "he will make a fine monk because he is such a bad businessman."
"If a problem can be solved, why be unhappy? If a problem cannot be solved, what's the use of being unhappy?"
There are a few bits of Buddhist wisdom incorporated in the story. I am most impressed with Norbu's tightly constructed film, and will be most disappointed if Bhutan does not receive its first Oscar nomination for Best Foreign Language film this coming year. I found the ending especially clever. Norbu picks up on a previously mentioned story reference, stating that the rabbit story doesn't need an ending - "What's all the fuss about endings?"
Well, that's to be expected for non-Hollywood film fare. We don't get a neatly tied up plot line with an action hero coming out on top in the end. Instead we get an inside, totally human view of a Buddhism monastery, some incredible visuals of the Himalayan region, and some wonderful character studies. I'll be looking forward to future Norbu films. Meanwhile, I strongly recommend checking this small independent film out when it's in your neighborhood.
* Note: for an excellent introduction to Buddhism, see Little Buddha, a film that Norbu served on as an apprentice
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