Die Weltmeisterschaft

What a funny, charming movie. It's nice to know that boys will be boys, wherever they are. Even while in exile in a monastery. The scene of them looking at girls in magazines is great. The fact that it's based on true events makes it all the more charming. I loved it!

The story focuses on a group of monks in a Buddhist monastery who are avid football fanatics. Their love of the game gets them into trouble with the authorities of the monastery, who try to persuade them to concentrate on their studies.

The story is predictable, no surprises. But the setting of the story contrasts well with the zealousness with which the monks pursue football. This is a movie with contrasting themes, with a dash of plain humor mixed in. Good for those tired days, when you want to relax and enjoy a simple movie without needing to too get intellectually involved.

In the 1950s, the Chinese invaded Tibet, killing one fifth of the six million inhabitants and destroying over 10,000 Buddhist monasteries. Today, Buddhism is strictly forbidden in Tibet and even owning a picture of the Dalai Lama is a crime. Consequently, many families send their children to monasteries-in-exile in India and Bhutan in order to receive a traditional Buddhist education. The Cup is set in such a monastery, at the time of last World Cup.

Orgyen (Jamyang Lodro) is a young monk who is obsessed with football. When he isn't pretending to be Ronaldo or discussing the World Cup in the middle of prayer, he is planning to see the next game in the local village without getting caught by Geko (Orgyen Tobgyal, Jamyang Lodro's father in real life), the father-figure disciplinarian of the monastery. With his friend Lodo (Neten Chokling), he quickly persuades new arrival Palden (Kunsang Nyima) to join them, while Geko and the Abbot (Lama Chonjor, real-life Abbot of Chokling Monastery, where The Cup was filmed) try to maintain discipline and fathom the rules of the game.

Directed by Khyentse Norbu, a first time feature director and important Buddhist figure himself, The Cup features an all-monk cast, none of whom had any acting experience prior to filming. Essentially a documentary about monastic life, The Cup nevertheless shows the realities of the Tibetans' political situation and combines serious issues with a more light-hearted style. It is genuinely witty in places and with great performances from Jamyang Lodro and Orgyen Tobgyal, always a pleasure to watch. The foothills of the Himalayas are beautifully photographed and the score is appropriately inobtrusive. On what is usually described as a 'shoestring budget' ('sandal-strap' might be more appropriate) Khyentse Norbu has created a lovely little film that deserves all the success it can get.

Phorpe or The Cup is probably the best foreign film I have ever seen, no kidding. It excels beyond a limit in every area, the acting from the young Budhist children are excellent, while the screenplay is brilliant and original. Phorpe (The Cup) is simply one of the best, most intriguing, and most original films I have seen in a long time.

In short, it is exactly the sort of movie New Zealand should be making. A funny, touching and exquisite picture that should be cherished.

Rating: 9

This is a delightful little film, and freshman effort from the little country of Bhutan. Had it not been based on true events, I would have found it hard to believe. Not claiming to know much about the life of a Bhuddist Monk, I didn't think they allowed themselves to be interested in more than chanting and karmic evolvement. This film acts as a great "equalizer", confirming my beliefs that we all are the same. We just tend to say it differently. The young monk who is the protaganist of this film reminds me so much of many young men I know. With his pushy, overbearing and sometimes irreverent behavior, you see a side of monkhood that is so often hidden in films. They are not perfect and they are prone to the same foibles we all have. Mainly, DESIRE. And desire no matter how innocent, or deviant, will get you everytime. The landscape appeared to be beautiful, the misty Himalayas, the rolling fields and saffron robes blowing in the wind beneath matching parasols. Unfortunately the cinematographer did not capitalize on all of this natural beauty, but merely glanced at the splendor as if it were merely coincidental. So all we get are mere glimpses at what should have been scenes lovingly caressed by the lens. This was a situation where the landscape and the camera should have clearly become lovers. But beyond that, I was swept away at the innocence of the director and it was a refreshing change to my jaded eyes. In my opinion, the more contrived Hollywood machine would not have been able to do more justice to this simple forthright piece of storytelling. And I am personally pushing for them to see the next World Cup games in person. Wanna take up a collection?