Valley of Flowers

I had recently had an occasion to discover VALEY OF FLOWERS. Lot has been said about this film. Thus I would only add that Nalin has played with very dangerous theme and cinematic structure; he comes out as truly talented director, a filmmaker with vision.

But these days the film journalism and criticism is not a pleasant place to be. It is often short sighted and fails to see a great talent behind each work.

My curiosity lead me to spend days and weeks to get hold of some of the remarkable films made by Pan Nalin prior to SAMSARA.

When Pan Nalin was barely 20 years of age, he made breathtaking 20 minute short fiction titled KHAJURAHO. This short film is excellent, has a vision, a unique vision. Shot in CinemaScope and Black and White -it is a sheer poetry in motion. Whether we like it or not a director was born that day.

Apparently Nalin made many silent shorts between the age of 16 to 20 but KHAJURAHO was the first film he was able to complete. I could not track any of his earlier works.

Later, Nalin and his crew put their lives in danger when they went to shoot NAGAS, a documentary on wildest of tribe of North-Eastern India. No filmmaker had ventured there before -and after since the Naga was made in 1995.

Similar attempt were made while making simple but bold documentaries like TULKUS or DEVADASIS.

I was surprised to read some negative criticism on the Net about recent works of Pan Nalin. Valley of Flowers is his (only) second feature!!! Come on, give this guy a break!!!

Most of the film critics failed to remember that what was the first and second films of Hitchcock, Kurosawa, Wong Kar Wai, Bergman, Antonioni.... were like???

I am not hear to defend Pan Nalin, whoever he maybe, but filmmakers in General. First and Second and even third movies of film directors are often like Soparano Singers shaping the color of his/her voice. Give those guys some time. They will master melodies which will move you to tears -if not you have a right to massacre them!

Filmmaker like Pan Nalin, if they were in Hollywood making English language movies, they would have got much better attention.

We should remember how hard it is to make an original work of cinema in Asia or Africa. Often you are not only struggling to make the film of your dream but also trying to feed the family of fifteen at same time!

Someone like Pan Nalin are gifted to give us a meaningful entertainment. They are capable of pulling the best out of Hollywood. Remember, very rarely a Hollywood director will write his own script. Nalin has proved his talent for excellent screen writing with both SAMSARA and VALLEY OF FLOWERS.

Directors like Pan Nalin are truly "International Director" in the line of Inarritu or Meirelles; They make the new cinema, new entertainment and new world we live in - a most fascinating place to be -enjoy and celebrate the life the way it is and not the way you are.

I am probably the only person who has seen TWO Valley of Flowers the one I saw in Delhi and second I saw today here in Turkey at the Gala premiere of Eurasian Film Festival where Valley.. is competing with some of the best films from Europe and Asia.

In Delhi I had really loved the movie -thus here in Antalya I wanted to go and see it again with friends but little did I know that the film was violently butchered down by good 40 minutes from its original version!!

Here, I disliked the film.

Does anyone know why? OR is it one of those same old song of "creative differences" where producers and distributors get to chop movies to make them commercially viable?!

If that is the case -then it is sad. Because the director's cut was long but played hypnotically well for me. The film's theme is powerful and rare. And I agree with other comments that the film will have tough time finding its audience. However I do NOT agree with the comments from ChomChom India -it sounds more like Jealousy or Bitterness then a serious comment. And ChomChom from India should not generalise, I was also present at the very same screening and me and my friends loved the picture.

Pan Nalin's Valley of Flowers would surely add a new angle to many Buddhism based movies. The whole idea of impermanence and laws of karma is portrayed in delightful modern way. Valley has Japanese MANGA like quality and interwoven web of deep Asian philosophy. The film is full of codes, most are difficult to decipher unless you pay close attention. Followers of Eastern Religion and Philosophy will be able to point out these symbols.

Another reason I loved Valley... is because it reminded me of Antonioni's "The Passenger" -the lead, Jack Nicholson plays reporter who does his time in the desert and steals identity of a dead arm trafficker. Then he meets Maria Schneider character, love blossoms and together they travel into the oblivion... Like Jelan and Usna of Valley of Flowers.

Nalin manages to render his story with shades of greys and black. He keeps on fighting with the pace like a warrior but does not succeed. However he leaves you with unforgettable impressions, poetry, ideas...

If you do get opportunity to see Valley's Director's Cut don't miss it. However, If you are going to see the butchered version of 2hr then you better visit the official website of the film (www.valleyofflowers.com) and understand the story and background.

If not you just MIGHT not get it -like ChomChom from India.

incredibly great and realistic movie, showed the real beauty of ladakh, nice story line excellent execution, lead actors looked really great but acting is bleak lead actress Mylène Jampanoï , she is amazingly beautiful. Director succeeded in holding audience attention till the end, even though length of the movie is very long but i never felt bored or off track at any point. Excellent costumes, shooting in ladakh is difficult task , really great efforts from the whole crew. I really feel this movie deserves better promotion world wide. I just came to know about this movie through the news that the lead pair got married.

I really wonder why there is no publicity for such a great movie. fate of this movie quite similar to that of ladakh - unseen and untouched beauty

I might sound biased but first of all I love all kind of love stories in cinema.

Valley of Flowers is a great love story -the one where magic plays a role.

And I have a passion for exceptional love stories and romances. Valley of Flowers makes you dream. Its a romanticism with layers of fear -fear of life, death, demon, rebirth...

It's set in very romantic Himalayas and moves onto very seductive Tokyo. Girls are gorgeous! Guys are cool and Game is dangerous -that of human vs demon.

All that unfolds in magnificent vistas -amazing locations. The film has great production value and specially the costume design is exquisite!

Extra bonus, it is inspired from Alexandra David Neel's book. Thus it is real treat for the fan of Alexandra's dark world of magic and mysteries of Tibet and Himalayas.

In Japanese part of the movie when film slides into modern world from early 19th century, there is also a wonderful scene with BARDO (Tibetan Book of The Dead) based euthanasia.

Its great concept: what do you do once you become immortal and you can not die -help others die.

It's not so often we see in cinema Asian interpretation of love. Valley of Flowers is to be watched with open mind. It is not an easy film, mind you.

Valley of Flowers is slow and I like slow movies -I cant bear Hollywood's fast cutting any longer.

The only problem with valley of Flowers is that it is loaded with too many great ideas and concepts -many don't succeed. Maybe it is an over-ambitious adventure from writer director Pan Nalin whose SAMSARA is my all time favorite film. SAMSARA is in my list of "10 movies to watch before you die."

Sorry, Valley of Flowers is not in that list but its a brilliant attempt towards unknown. Pan Nalin is a rising sun of the east -in just two feature films he has proved talent worth of five features. I agree, he is a filmmaker to watch out for.

For Valley of Flowers; If you live on popular cinema then avoid it. But if you are in mood to let your mind do gymnastic then I would say JUST GO FOR IT! It is a rare kind of movie. It has a magic and mystery -and lots of sensuality.

Yesterday I had an opportunity to attend the private screening of integral version of Valley of Flowers (155minutes!!) in the "chick" Planet Hollywood on Champs-Elysees in Paris. The film made huge impact on me. A week earlier I saw The Fountain (2006) by Darren Aronofsky. I liked the Fountain as well but it is Valley of Flowers sent my brain spinning.

The reason I mentioned the Fountain is because I was struck by the similarities of the theme in these two movies –love across ages, death and immortality, man's fight against time… Human beings in constant state of seeking equilibrium in love, life, nature and human nature.

Both Aronofsky and Nalin are known for invading the unknown realms of the real and surreal world. Though Valley is just a second feature of Pan Nalin, but the maturity he displays in handling of his subject matter is truly astounding. Valley of Flowers is truly an independent film compare to giant 35million dollar Fountain with star cast. Fountain is witnessing a vast release worldwide. Meanwhile Valley might not even make it to our domestic screen here in US. However, It is Nalin's film, which stirred me so deep, I felt a true sense of unearthing and that made me write, my very first comment on IMDb.

I know nothing about Buddhism or Yeti or Tibet or Himalaya. But that did not matter; the film gave me enough to chew. Of course the Himalayan parts are breathtaking, like in his earlier Samsara (2001), but here the "landscapes of faces" of Bandits are awesome. Costume and Production design are top-notch, aesthetics better and higher than many multi-million dollar Hollywood blockbusters.

Nalin's cinematic sense, and certain trance like camera movements are evocative; his girls are divine (even though they are playing demon). Again like in Samsara, Nalin discovers Mylene Jampanoi; a French Chinese actress gets a break to do her first feature. Nalin auditioned several hundreds across the world before discovering Mylene. Indian actor Milind Soman is less impressive but Naseeruddin Shah again proves his talent as one of the greatest actor of Asian cinema in his brilliant interpretation of yeti.

Nalin also proves his talent as an extraordinary screenwriter, he wrote both Samsara and Valley of Flowers. His cinematic structures do not follow any recognizable genre or style. His dialogs and editing is constantly breaking rules –must mention an amazing scene of hero's "time walk" in Valley of Flowers with simple cuts on pair of feet walking from early 19th century to modern day Tokyo. This scene in itself is a cinematic poetry in the realms of Rilke or Rumi.

I've been professor of Japanese Culture and society and dealt with many of the themes of Pan Nalin's movies. Nalin's portrayal of modern day Tokyo makes keen observation about existence of superstitions, demon and notion of death in Japan. Nalin manages to penetrate the layers of modern day Japanese life very effectively. Unfortunately, in the Fountain, Aronofsky fails to display similar command in scenes of ancient Spain and modern day medicine episode.

Again it is amazing coincidence how Aronofsky and Pan Nalin, both these young filmmakers chose their hero in modern times to be a Doctor. Controversial Dr. Zinelli of Dignitas of Zurich who assisted several people in their voluntary death inspires Nalin's modern day hero. Meanwhile Aronofsky's hero researches to fight cancer. Again Nalin's episode in modern day Tokyo leads to a sublime conclusion of the story where many twists are revealed, love and lovers are sacrificed -in some of the most poetic and memorable scenes in history of modern-Asian cinema.

I ask this question several times to myself why the festivals like Cannes, Venice, Berlin or Pusan have failed to highlight this talented filmmaker from India. I've been huge fan of Satyaji Ray but now nearly 50 years later there is a filmmaker emerging from India with a new voice and new style new energy - a truly modern and universal filmmaker. I am sorry to say there have been many others in between like Mira Nair or Shyam Benegal or Das Gupta –but Pan Nalin is beyond, he is in another league all together. With his two features, I have this intuition that there is something churning within this filmmaker like a volcano. The day that volcano finds voice we will witness an existence and acknowledgment of a brilliant filmmaker. Is anyone listening in Hollywood?