The Warrior (2001) User Reviews

A gem of a film well worth seeking out.

[johnmcm · 8/10 · 24 April 2002]

With his debut feature 'The Warrior', Asif Kapadia has immediately identified himself as a director worth watching.

The story follows the journey of the warrior (Irfran Khan) as he attempts to renounce his violent past and find a new life of peace in the mountains of Northern India.

Sickened by the brutality of his role as leader of a band of warriors, he puts down his sword, vowing never to kill again. However he does not account for the wrath of the Warlord who sends his men to hunt him down, with terrible consequences.

A timeless, almost Zen-like film has strong echoes of the work of Sergio Leone, opting for minimal dialogue and careful pacing, and making full use of the spectacular vistas of Northern India's desert and mountain regions.

I suspect you will have to search hard to find this film at your local multiplex, but it is well worth the effort. If you're feeling a tad jaded after too many blockbusters, here's a film to reaffirm your faith in cinema.

Beautiful to look at

[Leofwine_draca · 7/10 · 31 August 2011]

A slow moving and beautifully shot meditation on life and death, all set within a barren and inhospitable landscape. THE WARRIOR marked Asif Kapadia's breakout from short films into feature length cinema, and it's a stunning debut. A familiar storyline unfolds in a leisurely and unhurried way, promoting realism at all times. Don't go in thinking this is an action film due to the misleading title, because you'll be disappointed: there isn't a single sword fight to be found.

Irrfan Khan is a delight as the titular character, but the real star here is Kapadia himself. His cinematography aches with beauty, and he has a way of shooting isolated landscapes in a way that few other directors can match (for more of this check out FAR NORTH). Not since Werner Herzog's Nosferatu the Vampyre have I seen such a film shot through with this kind of artistic composition. There are shades of the Lone Wolf & Cub films here, but this meditative film turns out to be something else entirely; I really liked it.

Atonement

[jotix100 · 8/10 · 22 July 2005]

Director Asif Kapidian's "The Warrior" just arrived to this city in its commercial run. This is a film that will surprise many viewers, nor only for its splendid beauty, but for the way the director has created the right atmosphere in which to tell his story. The amazing cinematography by Roman Osin, is well worth the price of admission. The musical score by Dario Marianelli enhances the action tremendously.

We are taken to a place in Northern India, in the Rajastan, where a feudal lord is seen at the beginning of the movie receiving payment from his tenants. As one poor peasant can't pay, the ruthless man instructs his head henchman to kill the man by beheading him. The warrior, after he gets home, has a change of heart, as he realizes the enormity of his crime.

The warrior and his teen aged son, embark in a trip to the mountains to get away from the feudal lord, but fate intervenes in that his former partners in crime finds the young man. These men take him to face the cruel lord, who orders him to be killed. The warrior, in the crowd witnesses his own son's death.

What follows is a trip to the mountains, alone, where the former warrior meets a young boy along the way who wants to stay with him. They form a bond, until the following avengers catch up with their old partner and there's a showdown. At the end, the former outlaw finds some sense of serenity by staying with his son's friend and her family, where he is welcome.

"The Warrior" is a film of rare beauty where great vistas of India, going from the arid locales of the beginning of the movie change drastically as the warrior goes to the Indian Himalayas, in sharp contrast with what the film has shown before. Irfan Khan plays the title role well under the direction of Mr. Kapadian.

This is a film that clamors to be discovered, as it will not disappoint because of the remarkable work Asif Kapadian has achieved with this movie.

breathtakingly beautiful

[balloon-3 · 8 October 2004]

I just finished watching this film and I wanted to find out what the D.O.P. had done before...then I read some of the comments... I cannot believe people call this film long or boring...what were you watching? This films simplicity is one of the reasons that it is so beautiful and powerful. I found this film completely engaging. The fact that the warrior was more of a 'goon' and not 'an honourable warrior' - whatever that is...is the point, surely. There was no honour in what he was doing...he realized that he was merely a hired killer, and for the sake of his son, he had to break the cycle, and to call this film, with all the love and care and hard work that has obviously gone into it, "dishonest" is just............. The locations and photography were breathtaking, the music, the acting ... it was all wonderful.

Watch this to see how films could be...

I cannot recommend it enough.

Not bad, but less exciting than it could have been.

[jamesflamesburns · 7/10 · 8 June 2020]

This film is moving, and has some beautiful shots. But, surprisingly for a film called The Warrior, it doesn't have any sword fights. It never becomes quite as exciting as you think it should be. There's a few sword slashes (at random civilians, not in a fight), but it doesn't reach a level of high tension. The costumes and props are pretty decent - it seems the budget went on those things rather than special effects, since there is very little blood, and the deaths are so obviously fake.

If you're looking for an evocative tale about one man's grief and pain in a historical Indian setting, I highly recommend it. But it is most definitely not the Indian equivalent of APOCALYPTO or HOUSE OF FLYING DAGGERS.

Boring

[simon_booth · 6/10 · 9 February 2003]

Nice locations, but really really boring. Also, I wouldn't describe the protagonist as a warrior at all - more of a hired goon. If you want a meditative movie about swordsmen in the desert, seek out Wong Kar Wai's ASHES OF TIME. The Warrior is not worth your time, even as a Sunday afternoon sleeper. The British DVD is nicely presented and contains nearly an hour of deleted scenes, with director's commentary. These are all very boring too.

Simple, Poetic, Beautiful

[tonstant viewer · 10/10 · 25 October 2003]

A very worthwhile film, assuming you don't need rivers of blood, yucky closeups of severed body parts or explosions every twelve minutes to hold your interest.

Most stories about the killer who renounces violence feature a lip-smacking, almost pornographic delight in the violence itself. This film successfully avoids that trap.

The story has echoes of samurai tales to it, though the settings are the deserts of Rajastan and the mountains of the Himalayas - lowlands bad, mountains good, as always.

The lead actor is both expressive and restrained, the support is sufficient, and the whole experience moving. I hope a DVD version gets issued in the US before too long.

I just don't see it

[lastliberal · 6/10 · 1 April 2007]

This British film about a warrior that chucks it all for a life of peace was nominated and won many awards. IExcept for some outstanding cinematography, I don't see it.

At first, I thought it might be an "Unforgiven" as the warrior that gives it up comes back for a final job. But the truth is that the warrior (Irfan Khan) never really gave it up at all. At the first opportunity, he takes retribution on the warrior that is chasing him. This was not some noble act, but clear revenge. And that ending! What was that all about? "She said you would come." So what? Maybe you just had to speak Hindi to understand, but that would't help much as Khan doesn't say 100 words through the entire film.

A must-see adventure drama!

[patricialamkin-1 · 9/10 · 30 August 2005]

A troubled warrior named Lafcadia (Irfan Khan) tires of being sent by his arrogant lord to murder innocent people in the villages of feudal India. During a typical raid to a village in Rajasthan over unpaid taxes, the conscientious warrior has a mystical experience, and renounces his violent life. Defying his feudal obligations, Lafcadia begins a long journey to the mountains in search of himself, joined by a teenage thief and an old magic woman. Lafcadia soon realizes that the same corrupt men who used to fight alongside him have pursued him, and are bent on killing him.

Though this classic tale of a violent man trying to escape his past has been told in many film genres and countries, (Léon, Unforgiven, Crouching Tiger Hidden Dragon), the Warrior is a stand out with its breathtaking scenery, beautiful costumes and moving performances.

The Warrior, surprisingly, has no fight scenes.

[Godzman22 · 7/10 · 13 July 2006]

The title might be misleading for action movie fans such as I. However, I really liked this movie , but be warned, it is a drama not an action movie.This story is all about character choices and karma, not sword fights.(spoiler)... here are a few examples of karma... the warrior gives his son a knife, which was given to him by his grandfather or father ( not sure) when he started working for his lord, on the same day that he stops working for his lord. Also (spoiler)... his son is also killed with said knife...he who lives by the sword might die by his ancestors sword or knife. The film locations are beautiful.I did not know who the actors were since I am not knowledgeable about Indian cinema, but I found the actors to be very good. My favorite character was probably the blind woman...she was just creepy.

A Great Opportunity Missed Through the Director's Over-Estimation of his Abilities

[cribyn44 · 4/10 · 28 December 2006]

Since previous comments have adequately summarised the main story line of this film, there is no need for me to repeat them. However.....

I first saw this film on television a short while ago, and again over the Christmas period, on DVD. Seeing the film by itself, one can possibly enjoy the final cut for what it is, although I have to admit that my second viewing did tend to highlight the sparseness of the story-line and film. It is when one comes to see the film on DVD that the trouble begins. I would STRONGLY advise all viewers who have otherwise seen and quite enjoyed the film NOT to view the "extra" feature on the DVD entitled "Alternate and Deleted Scenes". Otherwise, you will be reminded of the Marcus Antonious speech in "Julius Ceasar".... "if you have tears, prepare to shed them now.......".

For nearly one hour the viewer is presented with alternate or deleted scene after scene that did not make the final cut but whose cumulative effect is to underline how otherwise totally brilliant, impressive, and moving the final cut of the film could have been had they been included - and had made the film probably around 120-plus minutes of viewing time instead of its measly present 87 minutes.

Time and again the exclusions really did make one wonder about the so-called film-making thinking and skills of the director and his film editor, given that all those exclusions would have superbly rounded-out not only the story line but also the "feelings" of involvement of the viewer. In addition, viewers should be warned that for virtually the whole of that hour of alternate and deleted scenes section, the director's voice intones non-stop about how superbly he thought his film-making skills were in lining up particular shots or how far better he thought it was to drop completely many shots. In addition, I found the director's uneducated use of the English language to be screamingly annoying....."He sort of got up and went into the desert...."; " He kind of did this as the camera follows him...."; and "like" this thing then happened....etc. I am of course paraphrasing, but that gives a taste of the horrendous misuse of the English language that one has to put up with in that section.

In other words, what this film absolutely requires is a patron saint who will purchase all its rights from the present director, and start again with all the alternate and deleted scenes inserted in order to make it the masterpiece it really deserves to be.

The journey begins

[flingebunt · 8/10 · 12 December 2005]

When a man of the sword relinquishes violence, he finds it has terrible price. He journeys to his home village where he will find the violence he running from has preceded him.

Written and directed by an English person of Indian descent, with the original inspiration coming from a Japanese folk story, this movie is part of the new Internationalism in cinema. This is in no way, an Indian film, rather it British.

The words have been used by other people and I am going to use them too, then go and spank myself for being so unoriginal.

Simple. Beautiful. Poetic.

Ouch.

It is a great example of found cinema, where many actors are simple found at the locations, with some sets being made, and many people, and sets being real. Including one major character being played by an Indian street kid.

I like this sort of movie, and if you do you will probably love this movie too.

sumptuous, fascinating if a slightly obvious revenge storyline

[kjlawrence · 7/10 · 23 October 2001]

I saw this film at the closing screening of the 2001 Edinburgh Film Festival.

It is a sumptuous, beautiful-to-look-at, film set in Northern India (Rajastan and the Indian Himalayas). Undisclosed time period (could be timeless)where the Warrior of the title tires of the (to him) senseless brutality of the local Lord towards 'his people'.

The story unfolds simply - this is no deep and meaningful philosophical tome - and in many ways obviously (although it does not spoil the enjoyment and appreciation).

Photography, colour, direction all add up to a great first feature from Asif Kapadia.

Dishonest!

[thespeakingtree · 1/10 · 28 March 2003]

Me and my friends failed to undertand why the fests & brits go ga ga over this pseudo-arty piece of work. It is one of the worst film to come out of Indian Diaspora. A straight lift off from a Japanese tale the film lacks in its originality. All ingredients are spiced up to please the arty crowd at the festival. Sorry to say this but it is one of the most dishonest film from highly overrated director.

Requires patience but is an interesting relocation of a western to a different world

[bob the moo · 18 January 2006]

Lafcadia is a warrior working for the local lord as an enforcer – destroying villages that don't pay their share to him and killing whomever he wants killed. It has become too much for him and the slaughter of an old man gives him pauses before he decides on the futility of the whole thing during an attack on a village of women and children. He returns home and prepares to travel to his home village in the Himalayas but his former lieutenant Biswas has been charged with bringing back his head for the lord. Unable to find Lafcadia, Biswas kills his son. Devastated Lafcadia continues his journey, with Biswas not yet finished his quest.

Although rejected by the Academy when put up for the "best foreign language film" category on the grounds that Hindi was not a language of the UK and therefore the UK could not put forward this film (huh?), this film could have easily been rejected on the grounds that The Warrior takes so much of itself from American westerns that it couldn't be considered foreign. I'm being stupid of course, but in essence what we have here is a silent story of a man wandering across the wilderness, meeting people on his way to what will be in some way a confrontation, or showdown if you will. It doesn't really compare to the stronger westerns that have tackled this same theme but it is still interesting. Silently moving forward against impressive backgrounds, there does appear to be the allusion to epic stature in the cinematography and also the pain of the characters. The depth is not really there to support this but it does do well enough to carry the story to the end.

Part of the reason for this is a solid and haunted performance from Khan in the lead. He has little dialogue for large sections of the film but he convinces and engages from start to finish. The support is mostly good (apart from the Lord being played as some sort of Bond villain) but it is Khan's film and he does well. Kapadia's direction is excellent and his use of music and slow camera movements add to the intimacy and patience inherent in the story being told. The cinematography makes good use of the locations but never becomes the whole show.

Overall this is an interesting film that plays well by taking the form of a western and placing it within the Indian feudal system. It is not action packed and requires a certain amount of patience to get into it but, without a lot of dialogue, the cast do well to produce characters that were interesting and that I cared about – particularly Khan in the lead. A worthy winner of "best British film" at the Baftas and worth seeing.

Blending Realism with the classic tale of Morality

[kathuria_nidhi · 7/10 · 2 August 2006]

Inspired by a Chinese fable as the writer-director Asif Kapadia admitted, the film progresses through rich imagery and metaphors suggestive of the human mind scape that is put through the test of tolerance, resolve and will. And just as a dull mind or an infant mind must go through a stream of experiences that must rip open the layers of dreary or steady existence, similarly it was essential for the story teller to envelope the snow-capped terrain of earth which must be climbed by a traveler who has sweat for the reasons he never challenged before, burnt his skin and bled too, both in his body and soul. There is almost a ghost-like resemblance with King Ashoka who goes through a change of heart and denounces blood- shed and war after the famous battle of Kalinga. One can't help notice similarity between the warrior hero and the character from Indian mythology Shravan who carries his blind parents. Even after initiating these referral points in his journey, the warrior-hero does not follow his crusade to the end, thus proving that he is not a superhuman, neither has any inclination to accept the role of Job from Christianity. He belongs to this era, where a man when pushed to his limit will break, or more appropriately, react. But the warrior-hero is not here to prove any fallacies or be put on a pedestal by those who look upon him as the one with a spine. He must take his own course, take responsibility for his actions and be the heir to the destiny misbegotten when he opens the gates of hell to please his tyrannical lord. It is the rule of the jungle that as soon as your shield is dropped by trick or by your own accord, the tyrants who live for nothing else, will attack you. Referring to the mythology again, in Mahabharata, Karan, who came into the world out of benediction of Sun God, was born with a shield, which no human sword could pierce. Tricked into removing it and offering it to the enemy in disguise, Karan didn't give up his other weapons, mainly his resolve, mental strength and pledge. Once again, coming back to our warrior-hero, who tends upon the path covered with thorns that shall pierce his bare feet and also make his soul bleed, he assumes the emotions of a human being contrasted with that of a warrior that almost led an animal like base existence. Through his transformation from a warrior to a human being, he realizes the simple pleasures of love, caring and life itself. The warrior-hero also gains the redemption pact when he chooses not to whet the appetite of his bloodthirsty sword. But the deal is only struck when his son must lose his life and pay for his father's deeds. The film is about Lafcadia (Irfan Khan) who lives in a violent world, but on his journey he seeks the strength to turn his life around – to become a much better person and, in a sense, a better father. The film is gripping until last half an hour, where it begins to drag. What is unique about this film is that with least dialogues or any verbal communication, the characters succeed in portraying pain and turmoil the writer chose for them. Irfan Khan is one of the superlative actors of the Indian film industry today, who uses his body and expressions most effectively and adds a new dimension to his character. Here too, Irfan puts his best foot forward in this realistic war saga woven with the morality tale in a film made by a visionary director from UK. Kapadia found a true street urchin who had been living on a train station platform since the age of 7 –Noor Mani, who reminds Lafcadia of his son in the film. He plays his part to the perfection and not even once gave an impression that he is acting. Damyanti Marfatia also played her real life handicap of blindness in the movie infusing some heart wrenching emotions with her realistic portrayal.

The Story: Irfan Khan stars as Lafcadia, a skilled and deadly Rajput warrior, who works at the behest of a brutal local warlord (Anupam Shyam) who regularly sends Lafacadia to carry out such savage punishments as be-headings and pillaging raids of entire villages. Then one day, Lafcadia decides to go straight. In the middle of a massacre, a mystical encounter with a young girl brings about a moment of transformation in which the warrior drops his sword and vows never to kill again. Gathering his only son Katiba (Puru Chhibber), Lafcadia hits the road and heads for his native mountain village. But the warlord who controls Lafcadia will not let his warrior go. The warlord soon dispatches a second warrior, the ruthless Biswas (Aino Annuddin), to hunt down Lafcadia and bring back his head. Still Lafcadia will not be deterred. Challenging the strict codes of the warrior life, he will sacrifice more than he could imagine in his quest for a peaceful existence.

Wonderful cinematography and superb acting and Ifhan Khan.

[kchee · 6/10 · 1 November 2001]

The premise is simple, a story about a "Warrior" working for a feudal landlord whom decided to give up his sword for the peace and simple virtues of village life where he grew up. Unfortunately, the landlord would not allow such "disloyalty" and sent the other "warriors" after Lafcadia, brilliantly played by Ifhan Khan.

Wonderful cinematography and superb and intense acting by Ifhan Khan. Unfortunately, the Warrior failed to live up to its fullest potential due to flaws in the story and its overly simplistic script. We never fully understood the reasons for Lafcadia to give up his killing ways. What was the impetus? What about Riaz, the boy whom Lafcadia met on the way to the mountains? These are among the numerous questions lingering on as the movie slowly unfolds as Lafcadia found his way eventually to the mountains.

On the whole, I will be looking forward to seeing more works from director Asif Kapadia who has shown promise and potential with The Warrior.

Spellbinding

[rschiber · 9/10 · 25 February 2007]

The very word "warrior" has us anticipating a non-stop action movie, but from the opening credits with the beautifully balanced composition of the gnarled tree, sand, sky and the warrior practicing his sword work in a manner that looks like dance--the music reinforcing the peaceful flowing sensation--we know right away that this movie is not about blood and guts.

I believe that is why some people call this movie "boring." It all has to do with expectations. People who are looking for a warrior in the style of Mortal Kombat or Ong Bak will be sorely disappointed. I didn't know what to think when I saw it the first time, but I was so intrigued I watched it again.

One of the most intriguing aspects of the film is its timelessness. This movie transcends a historical time period; it transcends culture. The story may be a samurai folk tale reworked to fit India of centuries past, but the story is universal. Some reviewers complain that the plot is too simplistic. But what is new under the sun? Certainly not a storyline. It is the presentation of the same old material that creates the interest, the beauty.

The gorgeous photography is compelling. The story of human connection and personal salvation is captivating. I teach the Hero's Journey in my high school movie class and that journey is always about Transformation which is at the heart of this film. Usually, the mentor, the guide, into the world of transformation is older and wiser. In this case, the warrior's guide is his young son, Katibah.

Beautiful film.

When my high school students saw it, I asked them how they like it. Many were bored, but a few were mesmerized.

Worth a watch

[MickeyTheConstant · 6/10 · 1 August 2020]

Nothing really to rave about here. It's definitely not an action movie if that's what you are looking for. Just a mans journey of redemption and his attempt to deal with guilt and grief. Great acting and cinematography but a bit too slow for my liking.

Beautiful shot ancient story

[eserm · 8/10 · 7 April 2003]

The Warrior tells a classic story without much words but with strong and beautiful pictures. The intense acting reminded me of silent movies where instead of long explaining dialogs facial expressions and the sets do the talking. A picture says more than thousand words. This movie is not made for action seeking viewers but for those who appreciate a well told story.

Yet Another No Name Mercenary Seeks Redemption

[noralee · 5/10 · 21 July 2005]

"The Warrior" feels like a Northern Indian take on the Man With No Name mercenary renouncing violence genre that was influenced by John Ford movies, let alone "High Noon," taken up as samurai by Kurasawa, re-invented by the Italians as spaghetti Westerns, and, I thought, brought back to rest with "The Unforgiven."

The first third of the film looks so much like the old-fashioned Hollywood take on Asian despots that I half expected the war lord to be played by Lee Van Cleef and for young Kirk Douglas or Tony Curtis to ride up.

Though we are given no information about the locale or time period or if it's based on a legend or whatever, this take on the genre has breathtaking local scenery and native actors partaking in the usual greedy violence, though the blood is almost too discreetly off-screen to be haunting, plus heavy-handed spiritual magic realism, complete with a fortune-telling blind crone.

Irfan Khan as the henchman suddenly struck with a conscience, however, is mesmerizing and gives the film whatever gravitas it has, as it becomes his picaresque tale of searching for redemption. He also has wonderful chemistry with the excellent child and teen actors who come and go in the story. His performance raises it above the similar looking but pedestrian recent Chinese warlord film "Warriors of Heaven and Earth (Tian di ying xiong)." It is both intriguing and off-putting for the pacing that the mano a mano duel doesn't really feel climactic, compared to the warrior's true quest for inner peace.

The bombastic music is disconcertingly Western, even though we occasionally hear local singing and instruments playing on screen.

It is very commendable that the English subtitles are legible throughout, even through many desert scenes.

But I simply do not understand why it got the BAFTA awards.

Simple, touching and beautifully shot

[Toshiro Mifune · 8/10 · 18 March 2002]

This was a really wonderful film. I saw it as the closing film of the Kent Film Festival and it was a suitably impressive finale.

It is an admittedly simple narrative about an experienced warrior-for-hire seeking redemption for his murderous ways but its simplicity is what makes it a universal parable that I felt struck that proverbial universal chord.

The veer away from the need for revenge towards a search for redemption was an interesting take on a fairly familiar feeling plot and the way the typical 'warrior film' themes were presented reminded me of Sergio Leone or John Ford westerns or the samuri films of Akira Kurosawa, such as 'Seven Samurai' or 'Sanjuro'.

Whether these films are your thing or not this is a film not to be missed because not only does it show that there is fresh, new directors coming through, but also because of the way the Himalaya's and the Indian deserts are shot (on a £2.5 million budget). It is truly stunning and was on a par with anything the afore mentioned John Ford or the great David Lean filmed.

This was a simple, touching and beautifully shot 86 minutes of film and I recommend it to anyone with a heart.

The Warrior

[Prismark10 · 5/10 · 2 June 2020]

The Warrior bought the late Irrfan Khan critical acclaim and the jump start he wanted in his acting career.

Director Asif Kapadia saw in him the face of a killer while he was casting his lead.

Khan plays Lafcadia, a single father who is also henchman for the local warlord. Lafcadia's job is to slaughter villagers who do not pay adequate tribute to the warlord.

A change of heart one day and leaving his job puts him and his son in danger. As the warlord tells the other henchmen, no one leave his employment.

Set in feudal northern India. The Warrior is inspired by Japanese samurai movies and Hollywood westerns.

There is not a lot of dialogue and frankly it is a story seen many times before. However this kind of art western that is not often found in Indian cinema (even though technically this is a British movie.)

Irfan Khan does well as The Warrior of the title. I felt that instead of this being a poetic movie about a man who walked away from a life of violence. It was more about a former killer who just drifted about until he decides to face his enemies and even then he is unsure.

the familiar tale

[Kirpianuscus · 17 August 2020]

For me, three virtues define this special film. The first is the familiarity of story. The old Oriental tale, with its motifs and themes, characters and embroidery of facts. The second - the music and magnificent photography. Not the last -the fine job of Damayanti Marfatia and Irfan Khan. It is real, real difficult to not love it. Yes, it seems long and boring and the expected fight scenes are not so many. But it is a tale. Or, not, sorry, only a poem. You discover it only if you know it, scene by scene, piece by piece, before you see it.

fine piece of film making - give it a ten

[deng43 · 10/10 · 18 March 2008]

this does seem to be a polarizing experience; reviews are largely either vehemently condemning or fervidly favorable. add me the the latter list. an exceptionally beautiful work that held me riveted in place.

complaints arise of the 'thin plot'. no, it is not a winding, twisted and tortured trip - all of which can make for a really great movie, but then it is not based on sophisticated dialogue and witty surprises. there is a very small mystical-overlay moment; it should not get in anyone's way; the film is not preaching to us, admonishing us, or trying to enlighten us. it is a very simple narrative presentation. the violence is brief but - well, violent.

there is one central idea: the protagonist is, or believes/hopes himself to be, finished with his erstwhile brutal and thoughtless life. the story of his decision and trip home follows; there are consequences for him. he meets, helps, and is helped by various folk along the way. maybe the film offers a hint of redemption; i'm not really sure. you don't get hit over the head here with "big" ideas.

which brings me to the point of the film's simplicity. what you find in it as 'message' may have more to do with your own expectations and views of life than anything the film is trying to feed to you.

it is a marvelous film in large part because of the actors who must carry loads of emotion with few words. the faces, the nuanced looks, even the blank looks, all captivated me. the absolutely human element, communication at its most basic, quite grabbed my attention. this is not a culture most of us will understand too well. while the faces are assuredly human and are conveying emotions we understand we cannot always be sure just why. that context, the culture behind their actions, is elusive.

not to outdo myself, but the photography is superb. this is a far better movie than many would have you believe. boring??? not! slow? like a heartbeat.

have to add a note: many are the disappointed cultural, geographical and historical purists who become inflamed at factual inaccuracies. they feel that these malaprops are pure sloppiness and so detract from the film's worth. if you are this ilk try looking at this as all made-up, a blending of times and periods meant to convey no specific place or era but one that sets a mood. the mood is make-believe, a place in the artists head, not a botched history lesson. seen more fictionally it might set better with those who tend to view more with the intellect than the imagination. don't let what was, or is, get in the way of what can be imagined. you lose if you do.