Constant Viewer: Mongol

Mongol probably isn’t coming to a theater near you or, if it is or already has, it probably isn’t the sort of movie you’re likely to go see unless you’re already the sort of art house film buff who eschews Hollywood flicks and regularly uses words like "eschew."

But Constant Viewer saw it yesterday and, as Mongolian language movies go, CV would give it a thumbs up (if CV had opposable thumbs like those art house snobs, that is) for beautiful cinematography, excellently choreographed and executed battle scenes complete replete with splattered blood galore and the sort of epic sweep we don’t see all that much ever since David Lean died.

Mongol tells the story of the early years and rise to power of Genghis Khan and, lest there be any doubt, it is not a remake of The Conqueror, clearly the most grotesquely funny miscasting of John Wayne ever. Besides, Mongol is all about the gentle side of Genghis Khan; Khan the family man, law giver and all around good guy. It’s not The Wrath of Khan; it’s Yes, I Khan! (Now, if only CV could figure out some way to work The 39 Steppes into this review.) Better still, since Mongols are not what you’d call chatty people, this is the rare foreign language movie where there is absolutely zero chance the rare dialog and therefore rare subtitles will distract you.

Mongol is in many respects an old-fashioned movie. There are no surprising twists or turns and no flashy CGI special effects. It is, on the other hand, an entirely craftsman-like film and, as all movies should, it takes you somewhere you’ve almost certainly never been. By contrast, an increasing number of this summer’s movies take you where you’ve already been far, far too often.